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Edited by
Professor T. G. Tuckrr, Litt. D.

Thucydides. Book VIII. Feap. 8vo.
3s. 6d. [Classical Series.
The Supplices of Aeschylus. With 'Trans-

lation. 8vo. Qs. net.
[Classical Library.

By Professor T. G. Tucker, Litt. D.

Life in Ancient Athens, The Social and
Public Life of a Classical Athenian
from Day to Day. With Illustrations.
Extra crown 8vo. [In the press.

[ Handbooks of Archaeology

and Antiquities.

LONDON: MACMILLAN & COMPANY, Ltp.

Glassical Series

THE FROGS OF ARISTOPHANES

APIZTO®ANOTZ BATPAXOI

THE

FROGS OF ARISTOPHANES

EDITED WITH INTRODUCTION, COMMENTARY
AND CRITICAL NOTES

BY

T. G. TUCKER, Lirt.D. (CAms.)

HON. LITT. D. DUBLIN ; PROFESSOR OF CLASSICAL PHILOLOGY IN THE
UNIVERSITY OF MELBOURNE; LATE FELLOW OF ST. JOHN’S COLLEGE, CAMBRIDGE

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MACMILLAN AND CO., LimtTep

NEW YORK: THE MACMILLAN COMPANY

1906

All rights reserved,

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PREFACE

THOUGH it is hoped that tli¢’ present edition of
the Frogs may be found to contribute to the
exegesis and criticism of the play in a sufficient
measure to deserve some attention from scholars,
its alm is primarily educational. For that reason
a few lines or short passages are omitted. Fortun-
ately but little textual innovation is anywhere
needed, and the critical notes have been reduced
to the smallest workable compass. Such novelties
of interpretation or reading as are offered have
been presented with as much simplicity as I
could command. A paedagogic work, it may be
assumed, is no place for encyclopaedic display.

It is now generally recognised that, if classical
studies are to retain their due place in liberal
culture, it will be necessary to lend to them in
their earlier stages something more of human

interest than was formerly imparted. The Frogs
iii

1755559

lV THE FROGS OF ARISTOPHANES

is a play which from the nature of its contents,
the liveliness and variety of its humour, and the
comparative ease of its vocabulary, is excellently
suited for the reading of sixth-form students and
undergraduates. Certainly no comic master-
piece could better serve as an introduction to
the study of that form of Greek literature. But
while to neglect a rigorous grammatical training
is to encourage flaccidity of the mental sinews,
grammar must go with reasonable historical com-
prehension, literary appreciation, and as much
‘mental visualisation as may be possible. The
present work, therefore, attempts not only a due
consideration of the language, but also exegesis
of the play as a live creation of wit and humour
presented in an actual theatre, before an actual
audience of intelligent and rather critical people.

The question which an editor presumably asks
himself is, “ what should I have liked to be told
—or what would it have been desirable for me
to be told—when I was myself at the educational
stage for which this book is intended?” and
that query he can only meet to the best of his
judgment. It is in answer to this question that
the sections of the Introduction dealing with
comic metre and language have been included.

PREFACE ¥

The matters there contained are of course familiar
to all advanced scholars, and may be regarded as
elementary. But average experience would prob-
ably confess that they have often been picked
up later in life than they ought. That they
should be known by all students who approach
Aristophanes is undeniable; but it is equally un-
deniable that many of them are commonly not
then known. Had I been aware of any place
accessible to the average student in which they
were set forth with due brevity, this book would
have been content with a reference thereto.

The section of the Introduction dealing with
.the Mysteries is reprinted with very slight alter-
ations from the Classical Review, where the
argument that the Lesser, and not the Greater,
Mysteries are concerned was accepted by the
high authority of Dr. Jane Harrison. It is hoped
that the clarification of the turbid arrangement
at vv. 1437 (=1442) sqq. may find a measure
of approval, and that some consideration may be
merited by such interpretative suggestions as are
made at vv. 1202 sqq., 185-187, 194, 308,
320, 377, 607, 653 sq., 657, 684 sq., 708 sqq.,
750 sqq., 791, 875 sqq., 903 sqq., 906, 965,
1133, and elsewhere.

vi THE FROGS OF ARISTOPHANES

In preparing the book I have necessarily de-
rived help from the work of Thiersch, Fritzsche,
Koch, Blaydes, van Leeuwen,and Merry. I have
also found profit in Prof. Murray’s translation of
the play, Rutherford’s Scholia Aristophanica, and
Mr. Starkie’s edition of the Wasps. I regret
that I could not see the work of Mr. Rogers till
my own was printing. Had the late Mr. R. A.
Neil lived to edit the Frogs there would probably
have been no real room for anything further for
the next generation.

THE UNIVERSITY OF MELBOURNE,
October 1905.

CONTENTS

INTRODUCTION—
A. Date and Motives of the Play .

B. The Mysteries referred to in the Frogs.

C. The Language and Metre of Comedy
D. Some Features of the Comic Style
E. The Text

THE PLAy (with Critical Notes)
COMMENTARY

INDICES—

1. Greek
2. English .

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INTRODUCTION
A. DATE AND MOTIVES OF THE PLAY

THE Frogs of Aristophanes was produced at the
Lenaea (i.e. early in February) of the year 405 B.C.
and won the first prize on that occasion. Phrynichus
was second with his J/usae and Plato third with a
Cleophon.

Apart from the primary purpose of the play as
an entertainment for the theatre-going public, it
possesses other aims usual with the Old Comedy.
The comic drama of the fifth century assumes as
within its province the caustic treatment of all kinds
of social, political and artistic questions of the hour.
This it does with no merely humorous intention,
although it goes without saying that the manner
of presentation must always seek the true aim of
comedy, which, according to Aristotle, is rd yéAovoy,
or the presentation of 7d aicypdv (in its wide sense)
on the ludicrous side. With the Old Comedy the
laughter of the audience (75 Géatpov) is, however,
not solely an end in itself; it is provoked by ridicule
applied as one of the most potent of social correctives.
There is of course in this, as in any other, comedy
a proportion of what is simply good-natured banter,

1X

x THE FROGS OF ARISTOPHANES

which commentators are apt to interpret too literally ;
but for the most part the ridicule, sarcasms and
scurrilities are seriously meant and are prompted by
strong feeling, be it political or aesthetic partisanship,
or, as one is sometimes driven to suspect, sheer
personal animus. Banter, repartee and personalities
of the kind known a8 yedupurpds formed a recognised
and privileged part of the festival of Dionysus in
general, and it was not strange that they were also
introduced into that portion of the festival which
took place in the theatre. Nor is it strange that
the comedians should claim privilege or expect the —
victim Kwpwdnfeis ev Tats matpiow TedeTais Tats Tov
Awvioov (v. 368) to bear their onslaughts, as
Soerates is said to have borne that of the Clouds,
with as good a grace as possible. Even the gods
(like Dionysus in this play) did not ask to be spared.
Between the various comic dramatists who competed
from year to year there was scarcely a citizen of
any public prominence, pronounced peculiarity, or
reprehensible character, who could expect to escape
his turn of comment or caricature. Aristophanes,
indeed, prides himself on leaving alone the ‘éwr7ns
(v. 459), but there were few Athenians who were
absolutely (Sura: in the sense that they were neither
brought officially, nor in some way brought them-
selves, under public notice. Had the comedians
been of all parties and views, and had their works
all survived, it would probably have appeared to the
casual modern reader as if the whole population of
Athens deserved the verdict passed by the king of
Brobdingnag on the world described by Gulliver.
The more philosophic student would, of course,
realise that comedy is not on oath, and that the

INTRODUCTION xl

function of caricature is to caricature. As it is, we
possess, besides Aristophanes, only fragments of his
contemporaries, and the reader has been too ready
to take the word of the prince of comedians as
if it were sober historical record. When he appears
to be supported by the remains of other comic
writers, or by what we learn of their work, it is not
sufficiently remembered that the comedians belonged
in the main to the same class, swayed by the same
motives, and that the purpose of all alike was to
ridicule such persons or proceedings as seemed most
open to ridicule from their point of view. And
among these the prominent politician and the pro-
pagandist are always fair game.

The Frogs is not only, as the Greek preface puts
it, a highly entertaining drama toy ed ravu Kai drdo-
Adyws Terounpevov, but it plays its full part in the
political and aesthetic purposes above mentioned.
To understand the piece we must understand both ~
the political and literary position of the moment,
and we must also comprehend the attitude of
Aristophanes himself as partisan and critic.

The last year had witnessed the death of the two
younger members of the great tragic trio. Euripides,
who had retired from Athens in 408 B.c. to the
court of the Macedonian Archelaus, died early in
406 B.C. ; Sophocles followed at the end of the same
year. There was left no poet worthy to supply
their place, and tragedy was now in much the same
position as that of English poetry after the demise
of Tennyson, Browning and Matthew Arnold. Of —
the numerous ‘minor poets’ with pretensions to
succeed the great masters, Agathon was apparently

xii THE FROGS OF ARISTOPHANES

acknowledged to be the best. He had won success
(416 B.c.) even during the vogue of Sophocles and
Euripides, but except for odd fragments and the
information given by Aristotle that he was the first
to invent an entirely fictitious tragic plot, and that
his choric lyrics were often mere interludes, we are
in no position to judge of his creative and other
artistic powers. But, whatever his merits, he had
now retired, as Kuripides had done, to a quieter
abode in Macedonia. Iophon, the son of Sophocles,
enjoyed repute, but there was much doubt as to the
extent to which he was dependent on his father’s
help. Xenocles and other composers appear to have
been little more than poetasters, although Xenocles
had to his credit a victory over Euripides in
414 B.C.

Such was the position of the tragic drama when
the time came for Aristophanes to present his
comedy for the Lenaea of February 405 B.c. The
new tragedies must be forthcoming in a few weeks
at the Great Dionysia, and among the competitors
(who were presumably known already) would
necessarily be writers whom the comedian held in
lively contempt. The moment was an eminently
suitable one for a piece with such an argument as
that of the Frogs. ( But to deliver a number of
shrewd blows at the various tragic aspirants is only
a minor part of the object of Aristophanes. With
higher purpose he prepares to employ his wit in
correcting or directing taste itself. And for this
end he devises a trial and a judgment of the
respective merits of those two great masters who
were most completely opposed to each other over
the whole field of tragic art—Aeschylus and Euri-

INTRODUCTION xill

pides. Though without any studied formality,
Aristophanes virtually anticipates the analysis which
Aristotle makes of the elements of a tragedy, namely
the plot (6 ptdos or ra rpdypara), the characters (ra
70), the thought (7) dudvo.a), the language (7) Aéé:s),
the music (7) peAoroua), and the scenic effects (:)
éyis). To his mind Euripides was not only inferior
to Aeschylus, but also a prophet of false taste, in all
these elements. Aristophanes does not, indeed,
regard the elder master as perfect, especially in the
matter of lucidity of language and variety of music ;
but in Euripides plot, character, thought, language,
music and scenic presentation all alike tend to be
undignified, trivial, repellent to sound taste, moral
and aesthetic. There is free and humorous criticism
of Aeschylus by Euripides, and much of this must
be taken as representing the actual opinion of the
comedian ; there is more fiercely humorous criticism
of Euripides by Aeschylus, and of this the earnest-
ness is beyond all doubt. For comic purposes it
would obviously never have done to pit the perfect
writer against the imperfect. Both art and interest
required that the ‘forensic dispute’ (€Aeyxos) so
beloved by an Atheniair audience, whether in tragedy
or comedy, should admit of strong argument on
either side, and there could be no such dispute if
the one side were flawless. Some have hurriedly
suspected that this is a reason why Sophocles is not
brought into the dispute. But Aristophanes un-
equivocally places Sophocles below Aeschylus, ‘and
therefore cannot have regarded him as _ perfection.
The explanation of the ‘sitting out’ of Sophocles is
surely not so far to seek. A triangular contest is
manifestly unmanageable ; Sophocles does not offer

b

xiv THE FROGS OF ARISTOPHANES

the same uncompromising contrast of the old school
with the new; the smoothness of his genius leaves
no conspicuous handles for the humorous caricature
to which the more massive but less finished genius
of Aeschylus lends itself. Moreover, the character
of Sophocles (v. 82) made him the sort of man whom
the comedian had no desire to caricature immediately
after his death. But a more obvious consideration
is that (as the dates would show) the Frogs was
already in process of composition, that at least it
must have been designed, before the actual decease
of Sophocles. The allusions to Sophocles are all of
the kind which could easily be incorporated or added
without disturbing the original conception of the
piece.

Having adopted the notion of holding a trial of
the respective representatives of tragic drama right
and wrong, the comedian must find a motive for the
occurrence of such a trial, and his device is of the
happiest. Dionysus, god of the tragic stage, is
troubled at the outlook, and is much concerned for
his coming festival. Finding no worthy poet living,
he must seek one from among the dead. But, until
he is converted towards the end of the play, he is
infected with the prevailing bad taste of the con-
temporary Athenian theatre—that is to say, his
model poet is Euripides. In fact Dionysus is
an embodiment of the rather muddled judgment
of the Athenian ‘gallery. He does not visit
Hades in order to select, but in order to fetch his
already selected Euripides. The trial of the poets
which actually ensues is a perfectly natural outcome
of a quarrel, deftly introduced between the tragedians
themselves, Their dispute is judged by Dionysus,

INTRODUCTION XV a

who is gradually converted to sounder taste and
gives his verdict in favour of Aeschylus.
It is doubtless true that Aristophanes
neither the notion of resurrecting eminent men nor
that of holding a trial of their merits. Eupolis in
his Demi recalls Solon, Pericles and others from the
grave in order to advise a helpless community, and
Cratinus had in one piece pitted Homer against
Archilochus. There were probably other examples
of the same devices. But such notions, once in-
vented, belong to any man, and, for the purposes of
comic art, all depends upon the easy sequence and
deft handling of the circumstances.

In his judgment of poetry Aristophanes, - like
most, though by no means all, of his contemporaries,
blends considerations of art with considerations of
morals, in the widest sense of that term. It is
perhaps doubtful whether his.censure of Euripides
on the artistic side would have been quite so severe,
if he had not felt constrained to pass even more
severe censure upon his ethical (and therewith
political) influence. In ancient Greece a poet was a _
power, and, being listened to by immense audiences
and read and recited by a larger circle than any
orator could reach, it was not unnatural that his
function should commonly be regarded as including
that of a teacher. His effect upon his generation
was somewhat like those of the modern preacher
novelist, essayist and poet combined. It was there-
fore almost impossible for an ancient critic to separate
the question of the poet’s claim to be an artist
(deEids) from his claim to wisdom and knowledge
(ropia) and sound admonition (vovfecia) in the

XVI THE FROGS OF ARISTOPHANES

domain of boni mores. Each of these aspects of
Aeschylus and Euripides respectively is reviewed in
the Frogs. And in none does Euripides escape con-
demnation. Here, as elsewhere, the judgment
necessarily depends on the point of view, and to
Aristophanes no other conclusion was possible.

The comedian was conservative, in politics, in
religion, in ethics, in manners, and in taste. He
disliked innovation, and, though he claims to be a
friend of democracy, he undisguisedly detested the
rule of the rabble. He believed in the political pre-
dominance of men of birth and culture—for such is
the meaning of his xaAot kdyafot or BeAtwrror ; under
them, he held, the state was kept on a steadier, more
provident, and more dignified course. On the other |
hand ochlocracy, led by demagogues, meant un-
wisdom in foreign policy, capriciousness, suspicion,
prejudice, dishonesty and extravagance in internal
affairs. We need not accept the view that either .
Cleon or Cleophon was really the coarse and corrupt
person described by Aristophanes; nor need we
believe that the fuller democracy of the date of the
Frogs either deserves to be called an ochlocracy, or
was guilty of more selfishness or folly than would
have existed under the virtual oligarchy to which
the comedian was in his heart inclined. Least of all
must we accept at its face value the licensed ridicule
and scurrility of a keen opponent. Our business is
simply to recognise the opinion of Aristophanes, so
far as it is unmistakable under the colouring of his
comic emphasis. And it is unmistakable that he
was politically a reactionary, aristocratically disposed,
with his full share of class prejudice, and incapable
of judging fairly men whose lack of exterior culture

INTRODUCTION XVil

and defects of taste he probably had reason enough
to contemn, but who may have been as able and
honest as any xadds kdyafos among their opponents.

To Aristophanes the steps in fuller democracy
and the power of demagogism were not merely dis-
tasteful; they caused the gravest apprehension.
Leaving for the moment the immediate condition of
domestic and foreign politics, it must be observed
that in his mind the growth of ochlocracy was in-
timately connected with a number of new tendencies
which found their most potent expression in the
poetry of Euripides. These included religious
scepticism and new ethical speculations, which
weakened the public loyalty to ancient standards
of conduct. For example Aristophanes chooses to
interpret Euripides as appealing to novel and inane
deities (889 sqq.), denying the obligation of an oath
(101 sq., 1471), and declaring that nothing is base
unless ‘thinking makes it so’ (1475). Again, the
(for the times) ultra-democratic spirit of Euripides
shows itself in his sympathetic treatment of the facts
of common life, and in the comparative importance
which he allows to the lowly, to women, and to
slaves. This ‘teaching’ was as alarming to the
reactionaries as threats of socialism are apt to be at
the pent: day. As understood by Aristophanes,
scepticism, ‘sophistry,’ and social deterioration went
together. The casuistical argumentation represented
by a Socrates or a Euripides was the pernicious
agent of moral disintegration. And as a consequence
both public and social life were being debased.
Meanwhile Aeschylus represented the old school, in
which character was more simple, heroic, or ‘Homeric,’
and standards more fixed and obeyed, and under

XVill THE FROGS OF ARISTOPHANES

which Athenians cultivated deeds rather than talk,
while low men, women and slaves were kept in their
proper background.

Meanwhile with the faults of Euripides as a
teacher went faults as an artist. His fancy for
clothing his tragic hero in rags and trusting to the
scenic effect of these and of lameness, instead of
relying upon the inherent pathos of the situation ;
his unseasonable fondness for casuistry; his
monotony of style and versification in his prologues ;
his frequent trivialities of theme and expression ; his
undignified innovations in the music of his choruses,
with their ‘variations,’ rapid runs and ‘shakes’ ;
these and other characteristics were to Aristophanes
so many artistic sins, which were not only censurable
as such, but also betrayed the same LEuripidean
disregard of authority and sound tradition. The
play “itself will make clear the respects in which
Euripides is treated as aesthetically a wrongdoer.

_ It has already been said that, to the mind of
Aristophanes, such innovations were bound up with
dangerous political tendencies. The state of things
at Athens was, indeed, anything but reassuring,
although it is in the highest degree doubtful
whether fuller democracy or even demagogism was
to blame. The evils of Athens during the latter
half of the Peloponnesian War are at least as
distinctly, if not more distinctly, traceable to
oligarchical machinations; and that such machina-
tions were in progress in 405 B.c. is clear from the
events of the next year. Since the revolution of the
Four Hundred in 411 Bc. there had prevailed no
confidence or sense of security between parties,

INTRODUCTION <x

and, on the whole, the behaviour of the ‘people’
had been more just and temperate than that of its
opponents.

The questions at issue were partly internal,
partly of external politics, and the two were
mutually involved. The chief internal question
was that of public burdens and expenditure, and
these were necessarily conditioned to a great extent
by the existence of peace or war. ‘The long
continuance of the struggle with the Peloponnesians
caused a severe drain upon the resources as well as
the pleasures of the well-to-do. The ¢dpos of the
confederate states might perhaps have met the
requirements of the war itself; but meanwhile there
had also been an increasing demand for payment of
the assembly, the juries and the theoric fund. The
richer citizens felt that they were likely to be taxed
out of existence; they recognised in the leaders of
the popular party (rpoorarat Tov Sjpov) their natural
enemies ; they were therefore not only in favour of
concluding peace, but also of reducing the assembly
and jury fees, if not of abolishing them altogether.
Their sympathies were naturally not so alien to the
oligarchical Sparta, and, on that account and because
of the obvious pecuniary self-interest, the efforts of
the peace party were looked upon with suspicion by
the general body of purer democrats.

To the well-to-do Athenian the ideal condition of
things would thus have included peace, abolition of
payment of fees, and therewith a considerable narrow-
ing of the deliberative, judicial and administrative
functions to their own leisured class. Hence the
attempt of the oligarchs in 411 B.c. and the more
tyrannous establishment of the Thirty in 404 B.c.

xx THE FROGS OF ARISTOPHANES

Hence also the strenuous counter-policy of democratic
leaders like Cleophon. That counter-policy did not, it
is true, necessarily involve the prosecution of the war.
Democracy could have had its way at home without
being compelled meanwhile to fight the Pelopon-
nesians. But the war certainly kept a large number
of the poorer citizens in receipt of daily pay, while
the burden of supplying this fell partly upon the
taxed allies and partly upon the richer Athenians.
Moreover, the continuance of the war meant
antagonism to the principle of oligarchy as repre-
sented by Sparta. Yet, when all this is said, we
can hardly refuse to acknowledge that the privations
and dangers of every order of citizens were so great
that the war-party must have been impelled by a
genuine spirit of patriotism. The superb efforts
after crushing losses, the refusals to make peace on
apparently easy terms, the persistence in manning
warships, are not to be accounted for by the desire
to earn three obols a day. And, as Grote has fully
pointed out, we are in no fair position to discuss the
wisdom or unwisdom of men like Cleophon, when
they refused to hear of peace on the terms proposed
after the battle of Cyzicus or of Arginusae. Gallant
spirit and fair prospects may have been ample
justification for a politician and a party who had
good reason for suspecting the motives of those who
were most energetic in the cause of peace. That
Athens would ultimately fail could hardly have been
so foregone a conclusion before the battle of Aegos-
potami as it seems to us after that event.

At Athens there were doubtless ‘ Moderates’ or a
middle party, whose fate was that of such persons
all the world over. Determining their proposals,

INTRODUCTION XX1

which might be the wisest possible, by the exigences
of the immediate case, they laid themselves open to
a charge of inconsistency or worse. They were
called opportunists and turncoats. Most conspicuous
among these was Theramenes, whose character and
conduct appear to be at length securing fairer treat-
ment. And less distinctly before the public there
must have been a body of thoughtful and reasonable
men whose efforts went towards reconciling the two
chief parties. Most of these would naturally uphold
a real democracy, but a democracy which should
abstain from bribing itself with extortions from
either the allies or the rich; they would for the most
part desire peace, so soon as peace could be obtained
on anything like equitable terms; they would do
their best to remove the reciprocal jealousies and
suspicions which harassed the state. ‘To this party
Aristophanes claims to belong, and probably believed
that he did belong. His avowed aims are peace,
democracy on just principles, and a general wiping
of old jealousies off the slate. Yet it is impossible
to read him without perceiving that he himself can
show no fairness towards the popular leaders, that
he is only restrained by prudential reasons from
proposing a virtual oligarchy, and that he actually
goes near to suggesting it. He is often obviously
feeling the pulse of his audience, and his consequent
action is admirably deft, with just that spice of
audacity in suggestion or reproof which a democracy
loves, but without much serious self-committal. His
attacks upon individuals like Cleophon and Cleigenes
are uncompromising enough; but it requires little
experience of a democracy to recognise that a party
will laugh at the strongest caricature of its leader,

XX THE FROGS OF ARISTOPHANES

so long as the attack is not ostensibly made upon
itself., Men do not particularly mind being called
‘lions led by asses,’ and this is practically the
general assertion of Aristophanes. If occasionally
he alleges that they allow demagogues to make fools
of them, he insists that the foolishness is not
natural, but the contrary; also they are never
knaves. At his boldest his chorus speaks under
‘privilege of the festival,’ while he can always
personally disclaim the views which happen to be
dramatically fit in the mouths of his characters. It
is edifying to observe how in the /rogs he puts out
feelers concerning the recall of Alcibiades without
direct expression of his own views. Meanwhile he
makes no secret of his view that peace is the best
policy. All credit must, of course, be given to the
Athenian toleration of zappnoia, and probably no
personal harm could have come to the poet from the
most outspoken partisanship. But he was at the
same time a dramatist contending for a prize, and had
no wish to alienate the greater part of his audience.

To us, after the event, it might seem that in the
Frogs Aristophanes shows himself a master of
political wisdom. He recommends an amnesty of
parties, and he urges peace. In a very short time
(after Aegospotami) the course of restoring to their
franchise all the citizens who had lost it was
approved and carried out; also in a very short time
the war ended in the complete defeat of Athens.
But these facts are insufficient as data for proving
that Cleophon was an incompetent knave or Thera-
menes an unpatriotic self-seeker. They simply show
that in the circumstances the poet and his party may
claim to have given the best advice.

INTRODUCTION xxiii

Though politics are not the primary subject of
the Frogs, the references to them are sufficiently
numerous, while (except as usual in the parabasis)
they come in without awkwardness or forcing. The
tragic poet’s qualifications, it has been said above,
included practical codia, and his function included
teaching and admonition. Therefore, in choosing
between Aeschylus and Euripides, it was necessary
to give prime consideration to the advice (yvepn)
which each was likely to offer at a critical time.
And undoubtedly the time was critical. History
tells us little of the condition of Athens during the
months after the victory of Arginusae and the
blundering trial of the admirals. That Athens made
no progress after that victory is sufficiently evident,
but there is nothing in professed history to tell us
exactly what the prospect was like before the collapse
of Aegospotami. It is, however, somewhat surprising
that so little of the truth has been gleaned from the
present play, which is the most trustworthy docu-
ment for the interval. From the Frogs it may be
gathered with certainty that the outlook was almost
desperate. Aristophanes implies this without feeling
called upon to argue it. The country is kupdrwv év
aykdAais (704). The assumption throughout is that
the best for which there is hope is cwrnpia. The
prayer of the mystae is for cwrnpia (381, 386); the
advice demanded of the rival poets is to be such as
will secure cwrnpia (1419, 1436); the need of men
to fight in the navy is so great that all who will
so fight should be made citizens (701 sq.); even
then the country may come to grief (736), but it will
do so without disgrace. According to the true inter-
pretation of v. 685 there is implied a doubt as to the

XXIV THE FROGS OF ARISTOPHANES

possibility of now obtaining a treaty on reasonable
terms. T’he whole tone of the political allusions is
the tone of a man who simply hopes that the worst
will not happen, and who recognises that a last united
effort is the only chance of averting it.

After the putting down of the oligarchical revolu-
tion of the Four Hundred in 411 B.c. the punishment
of the participants had been severe. Many were in
exile, many were dripo., either as condemned for
public treachery or else through inability to pay
fines imposed upon them. According to Aristo-
phanes the state was thus losing the services of
many of its most useful citizens ‘through one slip’
(into which, he pleads, they had been lured by
Phrynichus), and was also perpetuating the bad
feeling which increased the internal insecurity. He
pleads that they should be restored to their lost
status, and that all citizens should thus be ‘put on
a level.’ Meanwhile it is beyond question that the
intrigues of their party were proceeding actively, if
covertly, and that the prospects of the war were not
improved thereby. The signal victory of Cyzicus
(410 B.c.) and the destruction of the Lacedaemonian
fleet, it is true, once placed Athens in a position to
secure peace on very favourable terms. That these
offers were rejected, mainly through the influence of
Cleophon, is perhaps not surprising. The country
had reason to hope for an issue better still. Upon
other successes, in which Alcibiades had been a chief
instrument, there followed the irregular and only
partially legitimised return of that brilliant adven-
turer to Athens (408-407 B.c.) and the high hopes
placed in his ability and promises. Beyond the
showy action of enabling, by his military escort,

INTRODUCTION XxV

the Eleusinian procession to follow the orthodox land-
route for the first time for several years (i.e. since
the Peloponnesian occupation of Deceleia), Alcibiades
achieved practically nothing. Deposed from his
generalship, he had withdrawn in dudgeon to his own
possessions in the Chersonese (406 B.c.). Neverthe-
less in the present year he was still considered the
only leader capable of some great exploit which
might prevent the ruin of Athens, and it is evident
from the Frogs that his recall was being unofficially
debated. Returning, however, to the time im-
mediately after his deposition (406), we find his
successor Conon blocked up by the Peloponnesians
in Mitylene, and thereupon a desperate and
magnificent effort by which the last armada of
Athens sailed to relieve him. When the fight of
Arginusae (406) had resulted in the complete rout of
the Peloponnesians and the liberation of Conon, the
people showed its lively gratitude by the rare act
of setting free the slaves who had taken part in
the engagement. Unhappily the omission of the
admirals to recover their dead and shipwrecked
compatriots after the victory brought about the
rather complicated events of their unfair trial and
condemnation. The ‘true inwardness’ of these
occurrences we are hardly likely to discover, but
that the relations of the oligarchical and democratic
parties were once more involved is almost indisput-
able. Be that as it may, the victory produced for |
Athens little solid good externally and no small harm
at home. It prevented immediate collapse without
restoring her fortunes. That the Lacedaemonians
offered peace on the terms of status quo is a statement
discredited by Grote on very reasonable grounds. In

XXxVi THE FROGS OF ARISTOPHANES

the months which followed the fleet did nothing to
improve the Athenian position, and, though the
blunder and disaster of Aegospotami could not be
foreseen, the straits of the city must have been very
great and the signs of exhaustion unmistakable.

It was amid such circumstances that Aristophanes
brought on the /rogs at the Lenaea of February
405 B.C.

According to the trdGer1s, quoting Dicaearchus
(a pupil of Aristotle), the piece was so much liked
‘because of its parabasis’ that it was put on the
stage a second time. Exactly when this reproduc-
tion would occur is not clear. It may possibly have
been on the day called Xirpo. of the Anthesteria,
although it is more natural to think of the Great
Dionysia. That there were two productions, and
that the second contained certain variations from the
first, is universally allowed. In the extant text the
two versions are confused at least in vv. 1437 sqq.,
where the commentary should be seen. Events had
not moved far during the interval, but the poet
doubtless found sufficient reasons for modifying
certain lines in the light of more immediate circum-
stances. In the passage 1252 sqq. (q.v.) there is
an appearance of alternativeness about two short
passages in the lyrics, but it is hard to perceive a
reason for the substitution of one for the other, and
there is nothing improbable in regarding both as
belonging to the first version, the tautology (if such
it can be called) being justified by the fact that the
lines are a parody. In any case it is difficult to
believe, with Van Leeuwen, that before the second
performance members of the audience were possessed

INTRODUCTION XXVil

of copies of the play, in which their comprehension
of the points was assisted by notes of reference.
vy. 1109 sqq. should be otherwise interpreted.

/} At first sight it appears strange that the play
should be named from the frogs which play so small
a part in it. The true chorus is composed of the
poorat, While the frogs are but a comparatively
inconsiderable zapacxyjviov. Why, then, did not
Aristophanes call the play Miora:? Two reasons
may be assigned, each sufficient in itself. The
sacredness of the mysteries would suggest that
Mvorac as the announced title of a comedy might
be prejudicial. However harmless might prove to
be the part played by the mystae, it would naturally
appear beforehand as if the mysteries were threatened
with some ridicule. \\ Apart from this consideration
it is to be remembered that in its origins comedy
revelled in the imitation of animals, comic action
and licence being rendered more ludicrous by such
disguises. The Old Comedy, therefore, still affected
such animal choruses (X¢ijxes, Wives, etc.), partly
from force of tradition, and probably more because
the audiences looked for them and were attracted
by the corresponding titles. A title, after all, is
but a convenient short label whereby to identify a
play, and, while the choice lay between piora: and
Bdrpayou (since it would be hard to think of any
single word descriptive of the action and thought of
the piece), the latter possessed the superior élatnns on
both the grounds above stated.

The choice of the pvora: is prompted by fairly
obvious motives. What equally suitable body of

XXVIll THE FROGS OF ARISTOPHANES

persons could the comedian find in Hades? The
initiated alone are there so situated that they can
still sport and dance as the comic chorus requires.
Moreover they are Athenians, acquainted with local
circumstance and able to make the necessary local
references. When Aristophanes was met by the
question who were to form his chorus, he hit upon
what was probably the only satisfactory answer.
Nor should the nearness of the Little Mysteries of
the Anthesteria be overlooked (see next section of
this Introduction).

B. THE MYSTERIES REFERRED TO IN THE /'ROGS

It has been universally assumed that the picras
in the Frogs are represented as carrying Iacchus
from Athens to Eleusis in the procession of the
Greater Eleusinia, and that the proclamation, hymns,
and dances are intended to recall, as far as etoeBeva
permitted, those which belonged to that occasion.
The difficulties raised by the assumption are, how-
ever, very great, though they appear to have been
strangely overlooked. The various scholia lend no
help worth considering.:

We may first summarise the proceedings of the
Greater Mysteries so far as they concern interpreta-
tion.

The zpoppyars of the Archon Basileus, Hierophant,
and Daduchus in the Stoa Poikile on the 16th of
Boedromion (about the end of September) was
followed by the ceremony of purification known as
GAade prorat, ‘and this by sacrifices. On the 19th—

INTRODUCTION Xx1x

20th the initiated went in procession to the ‘Iaxyeiov
in the city, took thence the statue of the child
Iacchus, and carried it with shouts, songs, and
ceremonies through the Sacred Gate and along the
Sacred Road to Eleusis. The procession started in
the forenoon. It arrived at Eleusis towards mid-
night. The following days till the 23rd were
occupied at Eleusis with the mystic observances,
including wavvvyides. Of these it was rank impiety
to tell, and any attempt to mimic them was visited
with the heaviest punishment.

Now we might concede that though Dionysus, under
that name, is without part in the Greater Eleusinia,
yet Iacchus and Bacchus were commonly identified
in the popular mind, and therefore there would be a
certain justification for the comedian thus introducing
the Eleusinian Iacchus procession into a play for the
festival of Dionysus. There would also, we may
admit, be no impiety in putting on the stage that
prelude to the mysteries which all the world was
allowed to see.

Nevertheless we have to meet the following
questions :—

(1) What is meant in v. 324 by “Iaxy’, & roAv-
Timois ev edpais évOdde vaiwy? Where is évOdde?
There was apparently no Iaccheum at Eleusis. And
what is meant by the next words éAGé rovd ava
Aetpaova xopetowv? Where is ‘this’ meadow? Are
we to suppose that it was near the said temple of
Tacchus in Athens? Yet it is hardly conceivable
that there was any meadow thus near the temple, i.e.
on the way from the Iaccheum as one started towards
Eleusis. If it is argued that the allusion is to the
temple in which Iacchus was lodged at Eleusis, and

¢

xxx THE FROGS OF ARISTOPHANES

that the meadow is there, the notion that there is a
representation of the procession at starting must be
abandoned. ‘There has apparently been a complete
confusion of thought on the part of readers, whose
minds have glided from a temple of Iacchus at
Athens to a meadow at Eleusis without being aware
of the fact. The language of Aristophanes does not
permit of this easy transit.

(2) According to current accounts the procession
left the Iaccheum somewhat early in the day. Yet
in Aristophanes the torches are all blazing (vv. 340
sqq.). This state of things, though possible, is hardly
probable. Doubtless torches sometimes appear
lighted on the vases even when the procession
looks as if it might belong to the daytime, but
in reality either the vase-scene is one of the night-
time or else the lighting of the torch is an artistic
convention. If we were already in the meadow
at Eleusis at night the situation would, of course, —
be more natural ; but then we are not starting from
Athens.

(3) Where and at what time is the proclamation
of vv. 354 sqq. supposed to be made? What is the
succession of events? It is hard to reconcile the
sequence here with what we are told of the order at
the Greater Eleusinia. |

These are but the weaker objections. They are
perhaps answerable. Some might plead that the
torches of the procession may in point of fact have
been lighted in the forenoon, their purpose being
purely symbolic. It might also be hazarded that a
second or final tpéppyno.s may have been made at the
Taxyxetov just before the start. Furthermore’ it
might be argued that Aristophanes is compressing

INTRODUCTION XXXI

into brief space various proceedings of the procession
and its preliminaries, and also proceedings on arrival
at Eleusis, without regard to exact order or to literal
correctness of time and place. These imaginary
replies are, of course, very unsatisfactory.

If, on the other hand, we abandon the common
notion and imagine ourselves already at Eleusis, near
the temple in which Iacchus was there installed, we
shall be obliged to modify our views concerning the
reticence demanded of those—only piorac—who
were there present.

But there is a still more difficult question. (4)
What is the special appropriateness of introducing
the September mysteries of Eleusis into a play be-
longing to the Lenaea of February? The current
theory seems to be that Athens was exulting over
the exploit of Alcibiades, who had safely conducted
the procession to Eleusis by land, after the Deceleian
occupation had prevented it for years. But, apart
from the fact that the play makes no reference what-
ever to this occurrence, the year of that convoyed
procession was 407, while the date of the play is 405.
There is no proof that the land procession could be
resumed in 406, and people do not exult over a thing
which they managed to do the year before last, but
which they have been unable to do last year. More-
over the exultation seems in any case somewhat

belated.

There are other considerations which may throw
light on the problem. These lead to the conclusion
that the reference is not to the Greater Mysteries at
Kleusis but to the Lesser Mysteries at Athens.
These, which were called év “Aypas (or “Aypais) and

XXxli THE FROGS OF ARISTOPHANES

took place in spring, were a smaller copy and a kind
of introductory rehearsal of the Greater Eleusinia.
They were celebrated in the outskirts of Athens just
across the [lissus beyond the Limnae from the
Lenaeum. ‘These mysteries were to take place in a
month from the production of the Frogs; nor is it
impossible that the Frogs would be actually repeated
at the dramatic performances which appear to have
taken place on the Xvrpou of the Anthesteria.

The ceremonies at Agra (or Agrae) concerned
originally the same deities as at Eleusis, but with a
difference in their relative importance which corre-
sponds to the order of precedence in the Frogs.
There was a similar arrangement of the temples of
the two goddesses, and the rites and ceremonies were
in the main analogous, although those at Agrae were
of a preparatory and, in a sense, a more popular
nature.

That Aristophanes had these celebrations in mind,
and not those of Eleusis, is rendered almost certain
by the following considerations :

(a) The introduction of the mysteries into a play
intended for the festival of Dionysus is made the more
accountable and natural. With Eleusis Dionysus is
scarcely concerned. But in the mysteries at Agrae
he is united with Persephone, to whom, as the Spring
Goddess, the festival in reality belonged. For his
prominence in these see Dr. Harrison’s Prolegomena
to Greek Religion pp. 560 sq.

(b) The temple in which Iacchus dwells (ev@dée),
beside a marshy meadow (révéde Aexpova, also called
in v. 352 €devov Sdredov), is most easily conceivable
as a temple of Dionysus-Iacchus by the Ilissus.

(c) The Agrae mysteries were particularly in

INTRODUCTION XxXxili

honour of Persephone, not of Demeter, and it will be
noted that in the hymn 377 sqq. it is Persephone
who is placed first. At the Greater Eleusinia this
could hardly occur with propriety.

(d) There is an allusion in 218 sqq. to the coming
spring feast of the Anthesteria. ‘The spring mysteries
are regularly associated with the Anthesteria. Those
of the autumn are too remote from the Lenaea.

(¢) The emphasis laid upon Acipova (325), avOnpdv
ddmedov (352), edavOcis KdArovs Aewpovov (373), avOo-
dopov aAgos (441), Acwwovas avOeuwders (445) surely
points to the spring festival of the month Anthesterion
and not to the late autumn. Whether “AvGeorijpva
is or (more probably) is not derived from davOos,
popular etymology inevitably associated the words.
The repeated reference to dv0y is a seasonable
anticipation of the “Avdecrijpi. The season for
flowers is, of course, much earlier in Greece than in
higher latitudes, and late September is no time for
the luxuriance of flowery meads.

(f) Dionysus and Xanthias have come down by
way of the house of Heracles to the Aiuvy and have
crossed into a low-lying meadow of flowers. This,
translated into terms of Athenian topography, means
a descent from the temple of Heracles Alexikakos in
_ the north-western part of Athens, past the Aiuvai,
beyond the Lenaeum (see vv. 211-219) and south-
eastward into the meadows by the Ilissus.

(g) The great body of Athenian spectators would
be more familiar with the Lesser Mysteries of their
own suburbs than with those of Eleusis, which were
distant and required time as well as a greater degree
of initiation. Thus a representation of the dancing
of the Mystae on their way across the Ilissus into

XXX1V THE FROGS OF ARISTOPHANES

the Agrae precincts would be more readily appreciated
and less open to religious objection.

C. Tur LANGUAGE AND METRE oF COMEDY AS
COMPARED WITH THOSE OF TRAGEDY, AND
THEIR RELATION TO ORDINARY SPEECH

In a comedy various parts are written in various metres,
and each such part has a character of its own as regards
the degree in which it represents, or departs from, the
current diction of Athens. The main portion consists of
the spoken dialogue in the metre known as the iambic
trimeter (or senarius). This departs least of all Greek
metres from the rhythm of ordinary speech (Aristot. Poet.
4 patiora yap Aextikdy TOV peTpoV Td iapPeEtov ecTiV®
onpetov d€ tovtov’ rAciota yap tapPeta A€youev Ev TH
duarextw TH Tpds dAAnHAovs) ; correspondingly it departs
as little as possible from the diction, phraseology and
grammar used in ordinary life and conversation. In
other words the iambic trimeter of comedy is the language
of vivacious and colloquial prose arranged in the form of
an easy and fluent verse.

Next to the dialogue in trimeters come the longer
metres known as tetrameters, which are trochaic, ana-
paestic, oriambic. The metre of these is easily recognised
as a distinct departure from customary language; they
are not merely spoken, like the senarii, but are associated
with excited movement and are delivered in a sort of
recitative to the accompaniment of a flute. (Technically
this style of delivery is called zapaxatadoy?.) It is
natural, therefore, that in these there should be permitted
also some departure, though not a very wide one, from
the ordinary vocabulary or grammar. That is to say,
they may bear a more poetical colour.

INTRODUCTION XXxV

Thirdly there come the lyrics proper, in various
metres, sung by the dancing (or gesticuluting) chorus, and
in these the humorous parody of tragic choruses, dithy-
rambs and other serious lyric poetry is so overwhelming
that we no longer look to them for any certain criteria
as to the contemporary speech of Attica.

We shall do well to consider in order the main
characteristics of comic metre and language in the
trimeters and tetrameters.

(i.) Diction and Grammar of the Comic Senarvus.—The
language of the comic senarius differs widely from that
of the tragic. The language of tragedy is poetic. It
contains archaic words which were no longer current in
everyday Athenian speech, but which had belonged to an
older stage of Attic or were part of the wider poetry
familiar to every educated citizen. In this respect it
resembled the serious poetry of modern England, in which
occur words which no one would think of using in an
ordinary harangue. As we do not in common life or in
sober prose speak of ‘welkin’ or ‘steed,’ unless humorously,
so the Athenian of the fifth century B.c. made no use of
poreiv, Anpa, kAvew, and the like except in serious
poetry. In ordinary life these words could occur only
in quotations or allusively or with humour. But just as
the speaker of English who does not use ‘ welkin’ or
‘burgeon’ nevertheless knows the meaning of those words
and recognises their place in poetry, so the speaker of
Attic Greek who did not use podetv or kAvevv understood
them fully when they occurred in tragedy.

Meanwhile comedy is the language of real life, and in
the ordinary senarius such words as those mentioned
would be altogether incongruous, As Horace says (A. P.
89), versibus exponr tragicis res comica non vult. It is, of
course, true that Athenians, though less than Englishmen,
differed somewhat in the range of their vocabularies and

ran enn
OF TIE
€eareas eo Om em 4 mr a7

Xxxvi THE FROGS OF ARISTOPHANES

in the phrases for which their everyday speech showed a
partiality ; but, as an educated Englishman is none the
less able to draw a distiction between the poetic and the
common or familiar word (between the yA@7ra and the
Kiptov dvopa), so the educated Athenian had a keen
sense of the same difference. Athens, indeed, was a
small community, and the current language and range of
vocabulary were much more homogeneous or on a level
throughout society than they are with us, so that the
distinction of the rare from the familiar term would be
even more readily felt.

The comic senarius, unless it is quoting, parodying,
or burlesquing, uses only the current terms (kvp.a
ovoyata), and the occurrence of such words as érAnv or
tayos is a signal—even if there were no other—that
there is an allusion to some tragic passage, or a quotation
from serious poetry, or a deliberate spice of the grandiose.
In all such cases we must conceive of the actor as deliver-
ing the word or its context with a tragic tone and air,
and striking a tragic gesture or attitude.

The student may at first find some difficulty in telling
which words are, and which are not, purely poetical.
But the difficulty is exactly the same as is encountered in
dealing with Greek prose. The rules of prose diction are
the rules of the comic senarius. Some words are entirely
and solely poetical; a few are allowable in prose or
comedy in certain phrases only. Thus oOévos and piv
are to be called poetical words (the current equivalents
being poyn and vovs), and yet the phrases ravrti oOever
and vovv €xovra Kat dpevas were permitted in common
Attic speech. Similarly in English we can use an ex-
pression ‘with all his might and main,’ although ‘main’
is otherwise obsolete and ‘might’ is a word of poetical
colour, the current equivalent being ‘strength.’ The
form GéXeuv for eOéAevv is poetic, yet nv Oeds GeAn (‘God
willing’) survived as a phrase of ordinary life. The

INTRODUCTION XXXVIl

Athenian ear was remarkably delicate and even captious
in such matters, and the comedian could rely upon his
audience seeing the point of humour whenever he in-
troduced into his line words like KAewvds, edie,
Tapmrnoia, KEap.

Attic diction of the date of Aristophanes was subtle
and fastidious in its usages, not only in the nouns,
adjectives and verbs, but in the prepositions, conjunctions
etc. A distinction from tragedy has frequently to be
noted. For example where tragedy uses ws in similitudes
comedy proper must use womep; where tragedy says
ovrote comedy must say ovderote. The tragic use of
mpos or ex for v7 (‘by’), which is not allowed in Attic
prose, is not allowed in the comic senarius. In tragedy
mpiv, et, €ws, Os and other relatives may be joined to the
subjunctive without dv, eg. ews €AOy, Os 7. This is a
remnant of the older Greek use of a pure subjunctive
mood. The subsequent addition of ay to the relative had
nothing to do with determining the mood, but it was
meant to assist the generic indefiniteness of the expression,
and its use was at first optional. In Attic Greek it
came about that the use of dv prevailed, until in ordinary
life it became an indispensable attachment to the relative
when used with the subjunctive. The comedian must
therefore write mpiv dv €AOy, os av 7. Here again
quotation, burlesque (rapatpaywdia), or ‘mouthing’
would at once show itself by the use in a comic senarius of
Tpos = v1rd, Os = GoTep, ds = 0s av. The nice distinctions
of Attic cannot, of course, be enumerated here. It must
suffice to illustrate by these easy examples.

Another most important difference between comic and
tragic language consists in the use or omission of the
article. In early Greek, as in Latin and many other
languages, there was no article. There existed a demon-
strative pronoun (‘that’), which was employed when ‘that’
was palpably required. Gradually this demonstrative

XXxViili THE FROGS OF ARISTOPHANES

pronoun was weakened into a mere ‘definite article,’
which became regularly attached to nouns in the later
common speech, whereas in the older stage it was as
regularly absent. Only a few old and familiar phrases
continued to dispense with it. Thus Attic Greek
continued to say, eis dyopdv, cis dypov, ew Teixous, és
moAw, very much as we still say without. the article ‘ to
market,’ ‘to town,’ ‘upstairs,’ and the like. Tragedy,
representing an elevated diction which is the opposite of
the everyday, adheres to the old fashion. It regularly
dispenses with the article, unless that article is emphatic,
ie. a virtual demonstrative. It is, in fact, a gross error
to assume that the tragedians use or omit the article
purely for metrical reasons and without further discrimi-
nation. Thus tragedy uses eds warp in the simple
sense of ‘my father,’ but when it wishes to say ‘my
father,’ or affectionately ‘my own father,’ it uses 6 épds.
Comedy, like prose conversation, must always (in ordinary
dialogue) use 6 euds. The fact that comedy is verse does
not justify the omission of the definite article in writing
such verse. The omission is only permitted after pre-
positions with names of localities, eg. ayopd, modus
(=dkporoXs), tpuTavetov, aypos (which were treated by
an Athenian as practically proper names), or in stereotyped
phrases, e.g. kat’ OPOadports, Kara yiv, ete.

(ii.) Metre of the Comic Senarius.—(a) The iambic tri-
meter of tragedy admits of the following variations :—

IC

VVYwY VWVYWY VvVYY WwWVYY VvVY

Besides these an anapaest is occasionally allowable in
other feet than the first in a proper name which could

INTRODUCTION XXX1X

hardly be brought into the verse without such a concession.
The iambic senarius of comedy admits freely of an ana-
paest in any foot but the 6th. It freely admits of a
dactyl in the 5th foot as well as the 3rd. There are also
no inconsiderable number of instances of a tribrach in the
6th foot: eg. ejdirva (Antiph. “Apx. 3), deAlpaxca

(Eubul. ApddO. 9), cap|xidva (Diph. AA, 2), Anx|bOvov

~_~—_—~

(Anon. 40) and in Aristophanes youlpidvov (Ach. 777)

Ov\Aaxcov (Ran. 1203). It will be seen that in each of
these examples there is an iota, which may be slurred ;
but to ‘correct’ all such cases is quite unwarrantable.

(6) The scheme given above for tragedy is, however,
limited by certain rules of greater or less refinement.
For example there is the ‘law of the final cretic,’ accord-
ing to which, when a single word or organic combination
of the value — UV can be separated at the end of the line,
the previous syllable is short. Thus a line could not end
with woAA@ wAciova nor with toAXovs TOV Adywv, The
exception is that a long syllable may precede the final
—w™ when the said long syllable is a monosyllabic word
organically connected with the —U¥ following, as in a
preposition followed by its case (€« mpaypdrwv) or an
article followed by its noun (Tas Evyopds). [One can,
without violating the rule, say nov yap yépas, because
the —v— is not composed of a single word nor of an
organic combination, since yap belongs to what precedes. ]
For comedy there is no such law of the final cretic, and
ToAA®@ wXeiova or roAXovs Tov Adywv is a perfectly
normal ending.

_(c) In tragedy the line regularly has a caesura, or
division between words, after the first syllable of either
the 3rd foot or (less frequently) the 4th. There are, it is
true, about forty undoubted exceptions in extant tragedy,
and though in some of these the unusual rhythm is
manifestly intended for effect, the only inviolable rule

x] THE FROGS OF ARISTOPHANES

seems to be that a tragic line must not be capable of
severance into three equal parts, Thus

” lal 5 / > ¥
eimw Te TOV | eLwOdTwv, | & derroTa ;
” ec / >] > / ~ ”
or KaAXdws 0 pev y | Evpuridns | ravotpyos wv

are impossible in tragedy. In comedy there is no such
rule whatever and lines without caesura are used with
the greatest frequency.

(d) There is more freedom in comedy as to the number
and sequence of the resolved feet (i.e. Luu or —vv or
vv -—) which may be used in a single line, and as to the
places at which such feet must be divided between words.
The rules for tragedy are set forth in the ordinary verse-
books. In comedy scholars have made plentiful observa-
tions as to what does or does not occur, but many of
these are too subtle for mention in this brief sketch
and in some instances should never have been exalted
into rules.

The working scheme for the comic senarius is therefore

thie: aay 3 4 5 6
We Bis: lum ws a OE u~
i ats | sinieies snk
vuvuluvye INT ASE TP CIS NT RD uv (rarely)
|
iret AN Mina heel SE em leak ee AC NY ele, AP
A 1 Ae ENS ena Beas

(with no regard to caesura or ‘ final cretic’).

It may be said in general that a true comic line will
Kither it shares an anapaest

very seldom scan as tragic.

or dactyl in the wrong place, or it has too many resolved
feet, or it is without caesura, or it ignores the final cretic,
or, in a foot in which a tribrach or anapaest or dactyl is
possible in tragedy, it does not conform to some rule as
to dividing such afoot between words. In most cases,
as soon as a line scans faultlessly as a tragic line, we have

INTRODUCTION xli

good reason to suspect that it is a quotation or burlesque,
and that it was ‘mouthed’ by the actor accordingly.
Thus while the line

x 4 A ‘ 3 3 > Se <3 A /
7) b€ mpoc|Sokj|oai o ovK | avdy|rov Kat | Kevov
is the natural line of conversational comedy, its successor
— aa PA _ 2 hy . =
ws dovrAos Ov Kat Ovytds “AAKkpHvyns ever

is delivered with the grand tragic tone and attitude.

Much will be lost from an appreciation of the humour
of Aristophanes and from an understanding of the Greek
stage if this simple fact is not borne in mind.

(e) Besides the rules which have been given for the
several feet available in comedy and tragedy respectively,
there is a most important difference in a rule of syllabic
quantity. In tragedy, if a vowel is not long in itself,
it may be lengthened before one of the mutes (k, y, x, 7,
5, 9, 7, 8, $) followed by one of the liquids (p, A) and
(except for y, 5, 8) by one of the nasals (u, v). Thus in
UBpis, aypos, rarpos, irvos etc. the first syllable may
be long or short as the poet chooses. [In point of fact
the lengthening is not nearly so common as is generally
supposed. For the statistics see Class. Review Vol. xi.
pp. 341 sqq.] But in the language of daily life, if in
such syllables the vowel was naturally short, the syllables
were always kept short ; and therefore comedy, being the
language of daily life, never lengthens them in the iambic
senarius, unless it is quoting or burlesquing serious poetry.
Thus in a natural line of comic dialogue dypos or tidAds
or vBpis is impossible. When we find such lengthenings
we may be sure that we have more ‘ mouthing.’

(f) The senarius of comedy differs also markedly from
that of tragedy in respect of freedom in Elision, Prodeli-
sion, Crasis, Synecphonesis and Hiatus.

Elasion,—Comedy, unlike tragedy, may elide -ae in

xlii THE FROGS OF ARISTOPHANES

the verb-terminations of the infin. and of the Ist
and 3rd persons passive ; e.g. wapeiv’ €s Tiv TiKVG,
Siaywvieia’ epaoke, Séop’ ovdev, Kordc’ e€errt,
yevnoer’ dyad, It may also elide -ov in otpor ;
€.g. olw ws.

Prodelision.—In comedy the initial ¢« of a word follow-
ing a final vowel is freely dropped from thie
scansion ; e.g. eya ’vOelKVUpt, OVK GELO yw *wavToY,
drrov ’vOa8’, 06 ’pvjcOyv, olopas ’ywy’. In tragedy
the instances are much less bold and are mostly
restricted to prepositions.

Crasis in comedy is very free. Striking instances are
SnEopap (Sn€opar apa), yavdpes (kat ot avdpes),
pevTovpuckey (wevTot Eparkev), TYXayaBH, KaLTOUK,
cTovdwkev, Movyyvs, EypxKounv.

Synecphonesis.—W hat comedy can do in the slurring
together of final and initial vowels may be seen

a
from eg, pa Tov “ArdAAw ov, ga atrdv, ed 88
eat ee ee, ey
-” NPELS, eyu ELT OLMAL, PF” WPA.

Hiatus, which very rarely occurs in tragedy (perhaps
only in ré otv) is frequent in comedy after Ti, or,
mepi. We have Ti eort, Ti dpa, Ti ov, Ti ad, TL
eirras etc., dT. dv, OTe OVK, OTL, OTL eloeOnKe etc.,
Tept étvous, wept "A@nvav, rept epyod ete. Also
ovde ev, ed ioO, ed oda, & “HpdxAes, & obros,
and (at least in the New Comedy) pexpe av, mpd
NLEPas.

It would have been impossible to write a natural
language without these privileges. Thus the article
cannot be omitted asin tragedy. Since so many words
begin with vowels, a crasis with the article was necessarily
very frequent, eg. Oovdaros, Onperepov. Such crases
doubtless occur in tragedy also, but much less often, and
only when the article is for some reason indispensable.
Similarly it would have taken away all the realistic

INTRODUCTION xiii

character of comic language if the writer could not have
employed ri, 67. or wept before a vowel, or if a familiar
phrase like tvyyn ayaOy were barred by the metre. It
must meanwhile be remembered that the elision, prodeli-
sion, crasis and synecphonesis of comedy represent the
actual Attic pronunciation of ordinary life. Tragedy
avoids the common language ; comedy must reproduce it.

(g) The following metrical observations deserve note
for the iambic senarius of comedy :—

1. 7ptv, duty are not allowed, nor the monosyllabic
use of eds.

2. vov and tocviv are correct, not viv or Toiviv.

3. diw, Oiw, ve1, impe are the proper quantities,
although perhaps iu is occasional.

4. dpaypy and dpdypy are both in use; €a is
commonly pronounced as one syllable; ciow
(not €ow) is correct.

5. The vowel or diphthong ending is shortened before
deictic -i, e.g. TavTyl, TovTwl, ovTOL, Exetvolt.

6. eis is necessary before a vowel; a comic senarius
cannot say €s aypovs. Before a consonant és is
perhaps the proper form, but this cannot be
proved; nevertheless in scme phrases, eg. €s
Kopakas, it would be quite incorrect to write «is.

7. The following quantities are optional, viz.:—

ot in rovety (axountis etc), ofos, rotos, ToLovTos,
_, ott (oinPjva.), Bowwrés :

at in deiAasos, [Lecpaceds :

c in dvuts, tar pos :

& in dei, dpa (dpa) :

Also IIpwréws or TIpwréws ete.

8. The following alternative forms are equally avail-
able :—

-OlS, -olol, -ovolv in dat. plur. :

xliv

THE FROGS OF ARISTOPHANES

duddac", Siddacr, Siddacrv and the like (paragogic
-v being added at pleasure) :

-peo Oa and -pe8a :

eavTor, éauTov and wavTov, avrov :

ctor, TVVVOUTO (ete.) and eixooy, TvvvovToy (ete) :

olopat, popny and ofpat, @pyny :

éav or HV:

peiCova, nTToVves (ete.) and peifw, ATTOVs (etc.) :

treOvynkevat, TEAvnKGS and TeOvavat, TEOVEWds :

elveka, and evexa:

-oiaTo, -aiaTo and -ouvTo, -a.vTo :

-ars and -evas in opt. 2nd pers. :

€oukévat, €oikact and eikévat, eiface :

Tov; TM; and Tivos; Tin;

dpviv, opvis, yéAwv and dpviBa, dpviOas, yéAwra :

hevfouar and devEovpan :

xXpnv and eyphv:

ouv- and €ur-:

9. On the other hand it is not permitted to use forms

like woot, rovots for rovoiny, rovoins, nor dud0t
for didwo1, but the rule of contemporary prose
applies also to comedy. If -yeoOa and -ouw
appear to be exceptions it would be better to
accept them as evidence that Attic use was in
these respects not absolutely settled.

10. Aristophanes also uses ‘tmesis’ in e.g. avd Tol pe

weiGets.

(iii.) Tetrameters.—In dealing with the tetrameters
it is sufficient to state the main principles. It is prob-
able that the collectors of statistics have often over-
refined and in some cases constructed rules out of mere
accidents.

The trochaic, anapaestic and iambic tetrameters are
‘catalectic,’ i.e. they lack a syllable of being complete
sets of ‘4 metres’ (=8 feet).

INTRODUCTION xlv

(a) The trochaic tetrameter consisted originally of the
scansion :—

Pee eeu id on oe ele

with a caesura after the 4th trochee. Variations in the
_ several feet were allowed, the first and simplest being
that of a spondee (~—) in the 2nd, 4th and 6th feet.
Resolved feet were also permitted, though in tragedy
(excepting Euripides) their use is moderate. In comedy
they are frequent, but it is not very often that more
than one resolution will occur in the same line. The
commonest form is the tribrach, which may be used in
any foot. An anapaest may occur in the 2nd, 4th, and
6th. A dactyl is very rare. The caesura is often

neglected.

We thus have:

1 2 3 4 5 6 7 8
— pit J ae er am en ale et eraek © | a4
wv wve Www Wwe wvy WwWwaywe WY we wWwYweywvT Wa NP Se

Lf Sy. = as = PAs Sn
e.g.

aXdxXa. | Kal vov dvd|nrou | petaadlsvres | rovs tpdlmrous

or

SuxiSilov o-pux|pdv payloun’ av | ev Aolrddu welrveypeviov
The trochaic tetrameter is a favourite metre for quick

and excited speech.

(b) The anapaestic tetrameter consisted of 7 anapaests
and a syllable. As a variation a ‘spondee was then
allowed in any foot, but in Attic comedy such spondee
is never used in the 7th. A dactyl also is allowable,
provided that it does not precede an anapaest, and pro-
vided that the last syllable of the 4th foot is left long.
A caesura takes place at the end of the 4th.

d

xlvi THE FROGS OF ARISTOPHANES
For example :
SeEud\rnros | Kat vou|Geo tas || ori BeAlrious re ToL |mev
or dd Tod | TUpayy Kad Kdéos | eoryev || Ty T0080)” br
xpior| eBidalgey
This metre is suited to marching movement and is

also a favourite in comic disputes and passages of arms
accompanied by motion. 7

(c) The tambic tetrameter consisted of 7 iambi and a
syllable. It does not belong to tragedy, but is frequent
in comedy. Apart from resolution by tribrachs, a
spondee or dactyl was permitted in the Ist, 3rd, and 5th
feet. By a further extension an anapaest is permitted
in all feet but the 7th. Caesura after the 4th foot is not
essential.

We thus get:

1 2 3 4 5 6 , 8
ws = yo yo vo wo we v= =
NW pk dade as SR | a ad
muy —wy | at
in ame a | RTT ae ee
e.g.

eéniadra | pipors i daBov | rapa a Sprlvixy | rpapér|ras
mpuriora pee | ee eva | Tu ay | Kaior eV ey|kadviPas
"AyidlAéa | tev’ 7 | Nis Byv | 73 > rpdcwlrov odlyt Secxivis.

This also is a metre for disputes, but does not imply
motion, and serves as an agreeable change from the
anapaestic measure.

In the tetrameters we are made more distinctly

INTRODUCTION xlvii

conscious that we are dealing with verse than is the case
in the trimeter. They were, as has been already said,
half sung to the accompaniment of the flute. In them,
therefore, the language and its pronunciation recede
somewhat further from the spoken Attic. One illustra-
tion of the distinction is that, whereas in the trimeter
final diphthongs cannot stand before an initial vowel
without being either elided or else forming crasis or
synecphonesis, in the anapaestic tetrameters they may be

left and scanned as shortened syllables, e.g. evyopar et,
OcuirtokAet avtidepifers, pummamat etiretv, Xarpeov

vldos, eva aoerpiy, Seorotvy ’"A@nvain. [If it be
observed that these diphthongs end in z or v, which may
be made consonantal (=y and w), we have still to reckon

with e.g. KAeurGevyn eidov.]

The tragic (or generally poetical) lengthening before a
mute and a liquid or nasal is also (though very occasion-
ally) found in tetrameters (e.g. aypa@v, woyAds), and words
of poetical colour are sometimes used, e.g. ovrote, KapTa,
poxGetv, atre, derOar, krA€os, ExaTw, edus.

D. SOME MAIN FEATURES OF THE Comic STYLE

The language of comedy is the language of common life,
rendered as vivacious and witty as the poet can make it.
The idioms are therefore the idioms of prose, but on its
structural side the language, at least in the dialogue, is
for the most part even easier than that of the con-
temporary prose. Brisk conversation admits of no
involved sentences. The student may occasionally find
considerable trouble with the vocabulary ; he will meet
with new colloquial phrases, with allusions to which he
has no key, and with jokes of which the point is obscure

xl viii THE FROGS OF ARISTOPHANES

or undiscoverable ; but he should have little difficulty
with the grammar, What he should be prepared
for is |

puns :

surprise words (rapa mpocdokiay) :

‘ parody and burlesque :

quotation:

allusion :

colloquial metaphor constituting Athenian slang :

words manufactured for humorous purposes :
and also a plentiful use of

diminutives :

expletives :

exclamations of abuse, ridicule, contempt or pity.

Though these occur plentifully in every play, it is not

easy to illustrate them apart from their context. The
following may perhaps suffice as introductory specimens.

(a) Puns.—Plays upon words were as welcome to the
Athenian audience of Aristophanes as they were to the
English audience of Shakespeare. We are, however,
scarcely in a position to estimate properly the excellence
or the contrary of an Attic pun, for the reason that we
are uncertain as to the exact Attic pronunciation. If we
could hear a contemporary of Aristophanes articulating
his vowels and consonants and giving to the accent its
proper value, we should doubtless perceive a much closer
resemblance between the words played upon than we can
always perceive in them as written. Nevertheless it
would appear that the Athenians were not very exacting
in this respect. A suggestive resemblance in the shape
of two words, or identity in a prominent syllable, was
apparently sufficient, and the actor’s delivery of course
emphasised the point. Examples are :—

Eq. 55 pagav pepaxotos ev IlvAw Aakwvixiy
(suggesting wveAwm and conversely payynv peuaynpéevor),

INTRODUCTION xlix

ibid. 279 raiow tpijpect (oped pata (sug. drofopara),
1182 dayeiv €AaTHpas (‘cakes’), tva Tas vats eLadvvo-
pev Kadds, Ran. 418 ovx efrvoe Ppartepas (sug.
dpactjpas), 489 Avds Kopiv Gos (Kopts), Pac. 431 vrexe
Thv pidAny, drus epyy ’pradrotperv, Eccl. 686 kaTra
. wa kartoo.v, Lys. 91 sq. yaa (plays on yaoKw),
Ach. 35 sq. mpiwv and mpiw, 348 av@pakes (and
avOpwrot or avdpes), Vesp. 30 THY TpdomTLV TOU TpdypaTos
(=Tdv Tpdmorv), Av. 121 réAw evepov (sug. evdepor),
179 woAos and woAts, Nub. 23 sq. kommariav and
efexomnv. So in the line of an unknown comedian
imd ToD yéAwrTos eis l'eNav adigouas and (Anon, 350.
11) ovnoidpdpa . . dvos pépen
(b) Surprise words (rapa mpocdoxiav).—A favourite
device of the Attic comedians is to begin a sentence in
such a way that the hearer would naturally expect a
certain word or notion to follow, whereas there is
substituted some other word or notion, which comes
with a humorous surprise and therefore the greater
effect. A good instance occurs in a fragment of Alexis
(Ilapao. 2) :—
mpaypa S exti por peya
ppeatos evdov WuypoTtepov— A pdporos,

For ‘colder than ice’ is substituted ‘more frigid than
Araros, Wvxpds being the Greek for dull and tedious.
Soin Aristophanes: Eq. 59 Bupoivyny éxwv | Seurvovv-
Tos exTwSs arocoPet—rTovs pyntopas (instead of Tas pvias),
457 ® yevvikwrarov Kpeas (for Képa), 1176 €t pr) pavepas
pov vrepetxe THV—yUTpav (for yeipa), 1863 €x Tov
Adpuyyos exxpeudoas— YrépBorov (for e.g. A’Mov), Ran.
421 coTw TO TpoOTa THS Exei—poxOnpias, 855, Keharaiw
pipate . . exxen TOv—TyAehov (for éyxepadov), Plut.
26 TOV E“ov yap oiKeTOV TLOTOTATOV HyYOUpal we KaL—
kXertiotatov (for eg. xpnotdotatov), Lys. 103 areotw
ext Opaxns pvddtrwv—Kixpatn (for tovs woAeuiovs),

l THE FROGS OF ARISTOPHANES

Ach. 733 moréxeT euiv-—rtav yaorépa (for Tov vovv), Av.
134 pa pou TOT EAOns, Otay eyo TpaTTw—Kakos (for
Kados), Vesp. 243 jKew €xovTas pepov Opynv Tpiov
(for ouTia).

(c) Parody, burlesque, quotation and allusion are too
completely interwoven with the whole structure of a play
for us to illustrate them satisfactorily in extracts.
Tragedy, dithyramb, the hexameters of oracles, skolia,
and other forms of verse are fair game for the comedian.
In the dialogue it is particularly tragedy, in the lyrics
particularly dithyramb, which suffer. The Athenian
audience was entirely familiar with the style of the
messenger’s speech (ayyéAov pyois), with the recognition-
scene (avayvapiris) and with the ‘forensic dispute,’ or
argument and retort (eAeyxos), of the tragedian. It
would therefore at once apprehend the humour of the
comic burlesque of such passages, especially when the
actor struck an attitude and intoned his words after the
‘manner of some tragic ‘star’ whom they had recently
seen performing in a play of Sophocles or Euripides.

Thus Hq. 625-682 and Plut. 627 sqq. travesty an
ayyédou pho, Hq. 1232-1253 and Ran. 745 sqq. an
dvayvopiris, Pac. 124-154 a tragic discussion, Thesm.
331 sqq. the proclamation of a kypvf, Lys. 1124-1156 a
tragic speech, Av. 685-702 anepic theogony. Sometimes
a part of the plot as well as the language of a tragedian
is happily burlesqued, as in the Thesmophoriazusae, where
portions of the Helena and Andromeda of Euripides are
so treated.

It must be remembered that the whole Athenian
populace attended the theatre at the festivals of Dionysus
to listen to both tragedies and comedies, and that they
similarly witnessed and heard the dithyrambic choruses.
From the plays then performed they carried away vivid
recollections of whole scenes. Moreover the plays were
subsequently circulated and read. Lines of dialogue

INTRODUCTION on hi

became popular, either on their merits or because of some
humorous perversion which might be made of them.
Passages of lyrics ‘took’ with the people and were sung
and quoted. Moreover Homer and the great lyric poets
were taught at we ool to every properly educated Athenian
boy. Certain skolia had been sung at symposia and else-
where for generations, It was therefore quite safe for a
comedian to burlesque, quote, or allude to epics, dramas,
dithyrambs and other lyrics with a feeling that his
audience would be with him in ready appreciation.

(d) Colloqual Metaphor or Athenian Slang. —The
Greeks had a love of metaphor, i.e. of similitude com-
pressed into the use of one figurative word. The notion
that they were sparing or timid in such use is a mis-
conception. Aeschylus is as figurative as Shakespeare
and the Athenian populace as much so as the modern
American. It is true that critical writers like Aristotle
and Longinus utter cautions against excessive indulgence
in this figure, bnt the cautions would have been un-
necessary if there had been no tendency in that direction,
What was really insisted upon was that a metaphor
should be a happy one, that it should not be feeble or
far-fetched (cyoAaotixy). If very bold, it was con-
sidered well to qualify it with terms like ds eizety (ef,
quasi). The Athenians loved clear thinking; therefore
similitudes must bear examination; they must ‘go on
all fours” But they also loved the imaginative clearness
which perceived likenesses between things. Hence. both
_ their fondness for metaphor and their discriminating use

of it.

Metaphor was therefore very common in colloquial
Attic, and especially that humorous metaphor which
cloaks the disagreeable under another name. It is
naturally the part of comedy to make full use of such
sprightly expressions, and Aristophanes is rich in them.
For example, among words expressive of punishing by

hii THE FROGS OF ARISTOPHANES

beating we have devdpotopety TO voTov, KUvoKoTeEtv Td
vatov, aAoav, oodeiv, Seperv, admodeperv, A€rewv, KaTa-
Eaivew, wrAdvewv, puTtwtevev, pAav ete. (cf. the English
‘flay,’ ‘skin,’ ‘give a hiding, ‘a dressing,’ ‘dust one’s
jacket’ etc.) So we have yopdctev ta mpdypata,
exkokkifew Tas modes, exBorPifew Tivd, omrav (of
teasing), Katateuvery Twa KaTTipata (‘cut him into bits
of leather’), amoBAirrev tr. A man in anger or ill-
temper is said BAerew oKityn, vary, dpiyavov, ody,
kdpoaya; he Ave. tiv tv. Eating has names like
epeidewv, oTodetv, PAG, Tate. To cozen is trépyer Oar,
TeprepxerOat, mepreAavvery, mepiopapetv, PBovkodAciv.
A schemer Kepapeves (tv 7oAwv) or paver,

How far these were already current slang, or how
many of them Aristophanes invented and made current,
we can hardly tell. It is only reasonable to suppose
that it was part of a comedian’s business to strike out
new phrases, and that some at least make their first
appearance in the Aristophanic plays.

(e) Words humorously manufactured—The ease with
which compound words were systematically constructed
in Greek gave the comedians an opportunity for coining
facetious terms of whatever length they chose. Some of
these were more or less puns upon existing compounds ;
others were parodies of them, and these were particularly
numerous in those lyrics in which the comic poet
burlesqued the dithyramb. According to Aristotle
(Poet. 22) compound words paAwora appdtre: Tots diOv-
papPors and Aristophanes is ready to show his skill in
travestying the dvouara woAAarAa of that style. His
opOpopoitocvKodpavTodikotaAairwpos is, doubtless, an
extravagant example, but kpoppvogvpeypias, WappaKo-
cwydapyapa are not far from the typical.

If there is a term opopajtpvos the comedian will
invent opopactiyias; from tpizaAa he will make
xtAvdraAat; he will turn Avoipaxos into kAavoipayos.

INTRODUCTION lit

He will speak of peAos peAAoderrvixov and of veorAovto-
mévypos. Similarly he will invent humorous verbs, e.g.
eowkpdaTovy, nouns, e.g. ppovtiaTipiov, superlatives, e.g.
avtoratos. He will play with genders, as in 1) cerpatnyés,
) ypapparevs, or with the voice of the verb, as in
peykerat (because another middle has preceded). He
- will make foreigners, such as the Triballos or the Scythian
police, talk broken Greek, e.g. dpvito (=dpviOos), Kayo
Aeyt, wept (= éepers), “ArriKds pedis (= Atrixdy péeAr) ;
or he will mimic a lisp, as in oAgs (= 6pas).. Sometimes
he will imitate stammering, as in [pereréras, or the
sound of a musical instrument, e.g. OperraveAd, topAar-
ToOpdt, BouBaAroBopBag. There is in Greek no word
mons, but after the mention of orvmmeordAns a
character will say «fs ovrool “‘wwAns,” separating the
latter part of the compound,

(f) Diminutives. — Colloquial Greek, like modern
Italian, had a fondness for diminutives, expressing affec-
tion, pity or contempt. These were formed in a variety
of ways. [In the speech of Dominus Hyacinthus in
Browning’s The Ring and the Book the intensives and
diminutives applied to the same person occur as Cinone,
Cinozzo, Cinoncello, Cinuolo, Cinicello, Cinino, Ciniccino,
Cinoncino, Cinucciatolo, Cinotto, Cinarello ete] The
following are the regular types affected by the comedians,
viz.

4 -LOV, @.8. TaLd-Lov, YEpovt-Loy, Ovydrpiov, Avpiov.

2. sa, e.g. yvenptovoy, dixidiov, voiduov, yyS.ov,

ypdd.ov, Zwxparid.oy, Har Qisior.

[When the stem of the word ended in -vo- or -.a
the result was -1+.dsov and thence -i00¥, e.g.
ovotdsiov, twatidiov, oiktidvov (from otkia), apyv-
pidiov (from apyvp.ov).| Similarly shales dailies:
“Eppeidiov, tx Obdcov.

3. -dpiov (contemptuous), eg. rawdd ploy, si

avdpaptov.

liv THE FROGS OF ARISTOPHANES

4. -18-dpiov, e.g. Boddpiov, Kwddépiov, BidAWdprov.

5, -toKos, -ioxn, e.g. OvAaKkiokos, oikiokos, melpakioky.
6. -ioK-vov, e.g. KoTvAicKLov, yAaviok.ov.

7. -wrk-id-vov, e.g. yAavirKidvov.

8. -vAA-Lov, e.g. perpaxvAXtov, ér’dAALov.

9, -vdpiov, e.g. EAKVdptov.

To intensify the diminutive still further the word
puixpov may be added, as in duKidcov pxpov.

(9) Brpletives.— Athenian conversation must have been
liberally garnished with expletives. Oaths, chiefly intro-
duced by pa or v7), and appeals to the gods, with or
without introductory ©, are therefore scattered throughout
the pages of comedy. Such expletives are generally
expressive of excitement, wonder, and keen interest ; but
it is by no means always possible to discern any special
appropriateness in the choice: of deity invoked. In verse
the metre naturally has something to do with the question,
but a comedian would not, for the sake of metre, run
counter to conversational use. An appeal to Zeus is, of
course, possible in any case. For the other deities it is
presumable that originally—and perhaps at all times in
studied speech—a choice was made of the god or goddess
whose function it would be to lend help, deliverance or
enlightenment, or to punish breach of faith, in the
particular circumstances. Thus — is the god, and
Herakles the hero, of deliverance. As ddc€ixaxor they
would be invoked when danger threatened or when a
portent was seen. So in matters of taste one might
swear v7) Tas Xapitas and in matters of love v7 tv
"Adpoditny. To some extent this principle of choice was
always present. But it is impossible to suppose that the
ordinary conversation of the people consistently main-
tained any rational distinctions. Each speaker would
have his favourite expletives. There are, however, some
limitations.. The oath by tow Qew (Demeter and Perse-
phone) belonged to women only, as did v7 riyv"Aprepuy.

INTRODUCTION lv

In comedy it will be found that oaths, introduced by
pa (less often od pa) and v7 (less often vat pa), are most
commonly by Zeus (Aia or tov Ata indifferently). Next
in order come the group Apollo, Poseidon, Demeter (v7)
or pa Tov “AmdAXw, Tov Llowedo, tiv Ajpntpa, with
the article). Then follow Dionysus, Hermes and Herakles
(rov Avovucov, tov “Epynyv, rov “HpaxdAéa). Other deities
are less frequent (tv “Adpodirnv, thy “Exarny, tHv
"AOnvaiay, Tas Xdpuras), Sometimes we have generalisa-
tion in tovs OJeovs, or enlargements for more serious
asseveration, e.g. v7) Tov Ala Tov Lworjpa, pa Tov Aia rdv
°OXAvparvov. When an appeal is made (with or without @)
it is generally to the dAcéixaxor, e.g. Zev, Zev pidrrare,
Zed Serrora, Zed Kat Oeoi, Oeot cai daipoves kat Zed, or
"ArodAov, "AroAXov aotpérate, avaE “ArodXov Kai
Oeoi, fiX “AmoAAov, Poi?’ “ArodXov, or “HpdxdAcis,
— évak “ApdxAes, todvripn® “HpdxdAets, or & Avooxdpo,
or © IH, or & Ildcedov. Occasionally “AAcEixaxe or
*Arotpdmase is used alone, and sometimes vaguely Geo/,
hiro Oeoi, toAvTipyros Geoi.

In adjurations with zpds (or © zpos) the commonest
expressions are mpds (Tov) Oeav, pds (Tov) Atds ; some-
times zpds mavtwv Oeov and rpos THs Ijs.

There can be no doubt that the language of comedy
would have seemed to Athenian ears unnatural and
unvivacious without a liberal seasoning of such expletives,
just as would have been the case with English drama in
the prae-Puritan days.

(h) Terms .of abuse, contenvpt etc—Attic conversation, at
least among the lower orders and the ayopator, must also
have been remarkably free in abusive epithets, execrations
and epithets of pity. These can seldom have been either
meant or taken very seriously. The tone, of course, counted
for much, but a little experience of the modern East (for
example) or of the less refined walks of a modern European
city will teach the observer that a speaker may attribute

lvi THE FROGS OF ARISTOPHANES

to another the most shameful defects of character and
habits without meaning anything in particular. Comedy
therefore—doubtless exaggerating the practice for farcical
purposes—indulges freely in words expressive of moral
turpitude, e.g g. prvapos, TOfLILLA.POS, pLLa.pa Kepahy, BdeXAvpos,
Tovnpos, rap dvnpos, Geois EXO pos, KaTaparos, Ki.0appa.,
Bwporoxos, ovdev vyves ; of stupidity and ignorance, e.g.
oKa.os, amatdevTos, pMpos, nAios, maxis, apabrs,
avontos, BexxeréAnvos ; of cowardice, treachery, or greed,
e.g. detAds, SecAakpiov, pevaé, adrAdlwv, riOnKkos, Onpiov,
Ppvvevdas, Adpos, yAicoxpwv. Speakers fling at each
other such titles as tepdovAos, Awroditns, BadAavrio-
Topos, KAErrTns, ToLXwpvxos, KoTpoAdyos. [That such
terms are often to be taken in a ‘ Pickwickian sense’ ;
that at least they possessed less grossness of sound, or fell
upon thicker skins at Athens than with us, is clear from
the scurrility which marks the Athenian orators, even the
best. |

With abuse goes execration or threat, and extremely
common are such phrases as €s Kopaxas, BAAN és Kdpakas,
ovK «f €s Kopaxas; Siappayeins, eritpuBeins, amoAovo,
oipwe, amroXet KAKLOTO.

On the other hand there are plentiful exclamations of
pity, eg. & kaxodaipwv, & pede, dCupe, TdAay (frequent
among women), dvarnve, TXETALE, SecA autos ete.

Without these also comedy would have lacked some-
thing in convincingness,

E. Tur TExt

The present text is conservative in the sense that
the reading of the best Mss., when metrically correct
and grammatically tolerable, is always retained, if it
yields such a meaning as Aristophanes may very well
have intended. No attempt has then been made, nor

INTRODUCTION lvl

can legitimately be made, to substitute something
which might seem more prettily idiomatic or even
more humorous. If an editor thinks he can perceive
some reading which might be an improvement, and
which he would like to think that Aristophanes
actually wrote, he is entitled to offer it in his critical
notes, but scarcely to insert it in his text.

Where the best mss. differ, it is for the critic
to use his sagacity in determining which of two
readings, if either, is the more likely to have been
prior to the other. He may choose the one or
deduce both from some common source. How far,
when the best Mss. alike show an untenable reading,
some inferior copies are to be taken as authority, is
one of the nicer matters of textual criticism. Often.
the readings of such copies simply represent the
conjectural efforts of early mediaeval or renaissance
critics. Nevertheless, since we cannot always tell
upon what basis of authority these texts are formed,
it is on the whole safer, when the best Mss. fail us,
to accept from the inferior MSs. a tolerable reading
in which a number of them agree, than to ignore it
in favour of a modern conjecture. The best stratum
of scholia is also often to be pressed into the service,
as of at least equal value with the later order of
Mss. Nor are the quotations by Suidas to be
ignored, although verbal accuracy in quotation was
by no means rigorously insisted upon until long after
the era of printed books. But when all the texts are
impossible or extremely unsatisfactory, new conjec-
tural emendation has its place. Whether or not such
emendation shall be incorporated in the text depends
upon the degree of its convincingness as judged by
the most dispassionate critical faculty of the editor.

lviii THE FROGS OF ARISTOPHANES

Of the Frogs there are a large number of MSS.,
Of these the authority of two entirely outweighs
that of the rest. They are the Ravennas (R) and the
Venetus (V). These two are not always right; each
occasionally corrects the other; both occasionally
require correction from other MSS. or from conjecture.
But the most casual survey of their readings in
comparison with those of other Mss. will show that
they have been copied with greater accuracy from
originals which have undergone much less corruption.
These are known as the codices vetusti, the rest being
recentiores. For most of Aristophanes R is the
sounder MS. but this is scarcely the case in the
Frogs, in which many of the better readings are
derived from V. When we have to choose between
R and V we must first look to the indications of the
other MSS. and to the scholia, and then fall back
upon our critical judgment.

The scholia, or notes in the margins of the MSS.,
particularly those in R, have an appreciable value
for criticism, but require cautious handling. They
comprise two chief strata, the one ancient, dating,
(or derived) from the comments of the Alexandrian
ypappartixot from at least the third century B.c. A
creat compiler of such comments, to whom the
annotators of our scholia often refer, was the famous
Didymus of the earlier age of Augustus. The other
stratum is relatively modern, dating from Byzantine
scholars and editors of MSS.

The Frogs having been (like the Knights, Clouds,
Acharnians and Plutus) one of the plays most com-
monly read and therefore most continually and
carefully copied, its text is comparatively pure.

In the present edition the innovations will be

INTRODUCTION lix

found to consist chiefly in the ascription of lines to
their speakers (e.g. 570, 574), in punctuation or
accent (e.g. 66, 279, 285, 455, 507, 574 sq., 605,
610 sqq., 896 sq.,-1210) and in a discrimination
_ between the matter of the two versions of the play
(1437 sqq.). Conjectures of the editor are included
in the text at 645 (otv for ovd’), 665 (<repi>
mpovas), 957 (épw for épav), 1130 (correction of
order), 1305 (éxi rotrov for émi rotvrov), 1307.
Further suggestions are added as queries in the
critical notes to 15, 77, 83, 193, 286 sq., 705, 935,
1012, 1028, 1203, 1256, 1285, 1298, 1393, 1403,
1405, 1439 (=1440), 1517. The Ms. readings
have been retained and defended in several cases
where they are generally rejected without sufficient
reason (e.g. 197, 665, 1235, 1249).

An attempt has been made to restore the proper
orthographies as indicated by Attic inscriptions and
other evidence, e.g. in ¢apvé, pparepes, dvaBvoiny,
GVUTETOY, Tpeurkaidera, TevO paca, mpoy, aww, K@dz.ov,
Kmoapiov, mvetoetat, AdOpa, Tevknot, TxLvdarapor.
Tociv, monow etc. are written (generally with’ Ms.
support) wherever the metre permits of a short initial
syllable.

DRAMATIS PERSONAE

ia na Ae of Dionysus)
AIONT=

savin

NEKPOX (on his way to burial)
XAPON

AIAKO2 (doorkeeper of Pluto)
OEPAITAINA ITEPZEbONH>S
ITANAOKETTPIA

TIAAOANH (servant of the inn)
EYPINIAH=

AIZXTAOZ

ITAOTTON

XOPOZ MYTZSTON (also heard, but not seen, as BATPAXOT)

Supernumeraries (kwa mpdowra) include corpse-bearers, per-
sons at the Mysteries (other than the chorus proper), slaves
of Pluto under Aeacus, train of Pluto.

[For the identity of the Mystae and the Frogs see 209 n. ; for
Aeacus 464 n. ; for the assumption of only one landlady,
549 n. ; for the Coryphaeus 354 n.]

The better the actor the more he would perform, so far as
the piece permitted. Hence the parts were probably divided
as follows. That four actors are on the stage at once is seen
from 552 sqq., 1444 sq.

Protagonist: Xanthias, who also plays Euripides (see n.
after 1499).
Deuteragonist: Aeschylus, who has previously played

Herakles, Charon, Aeacus, Landlady, and perhaps icles
phone’s maid.

Tritagonist : Dionysus.
Fourth Actor: The Corpse, Plathane, Pluto.
lx

BATPAXOI

EANOIAS. AIONT OF

n / 95
BA. Elva ti tov ciwOoTtwy, @ dێoToOTAa,
> >) a oN lal . ¢e ,
ep ols ae yeAoou of Oew@pevor ;
Al. wm tov A’ 6 te BovrAer ye, WAHV
mweéCopas*
‘tovto 5é€ diAakas: Tavu ydp éot Hon

yoXn.
EA. pnd étepov aoteiov tt ;
Al, Trnv y, OS OriBopat. 5
BA. ti dat; TO mavu yédoloy élTo ;
Al. vn Nia
Oappav y+ éxeivo povoy Orrws pu) ‘pets,
EIA. te TEs

Al. petaBarrdpevos tavadopov ote ye Ent as.

. [As a rule only R and V are quoted. Where another reading is not
stated to be a correction it is implied that it is found in other Mss.
al.=some other ms. than those named. cett.=all other mss. vulg.=
most mss. Ed. and Qu.=an emendation or suggestion by the present
editor. = >=see note in commentary. ]

3 Bove. MSS. Aristophanes probably used the form PovAy

(Meisterhans”, p. 131); cf. inf. 462 crit. note 4 yap ear
RV. > 7 MSS. vary between Oappdv ye’ wdvoy éxetv’ and

the text. R omits éxety’
Eich 1 B

2 | BATPAXOI 89

EBA. ti dnt ev pe TtadTa Ta oKevn dépew,
elmrep Tronow pnoev wvirrep Ppvyyos

” lat \ / > /

elwOe trovety kai Aveis Kxapeurias

aKxeunpopova éxdoTtoT év Kapmdia; 15
AI. wx vuvy ronons: es eyo Oewpevos,

éTav TL ToOUT@Y TaV codicpaTor ida,

~ ay oe a / /

Theiv 7) ViavT@ TpeaRuUTEpos aTrépyopmat.
mA Xx 5 / ge BS / x e /
EA. @& Tptcxaxodaipwv ap o Tpdyndos ovToci,

dre OriBeTar pév, TO Sé yeAOLvoy OVK pet. 20
AI. cir’ ovy wv8pis, tadt éati Kal odd?

. |
Tpupy,

¢? 3 b x \ XN / e\ = /

é6r éy@ pwev wv Avovvaos, vios {Tapviov,

3 UN / \ val an > b] n

avTos Badifo Kail mova, TodTov 8 oye,
» J / \ ee aa) no BA Q / 3

iva py TadavT@potta pnd axdos épor;
EA. ov yap hépw ‘yo;

Al. Tas pépes yap, Os y Over; 25
EA. dépov ye tavti. AI: riva tpomov; —
EA. . Bapéws travv.

Al. ovxovv to Bdpos Tovl, 56 ov dépers,
ovvos épe ;

BA. od 870 6 y éyw ‘yo Kab dépo, pa
tov At’ ov. |

Al. mds yap pépets, 8s y adres id’ érépou
péper ;

9

13 rowjow vulg.: mojow RV. The omission of ¢ (before e-
sounds) is correct when the quantity is short ; before o-sounds
« remains (Meisterhans?,- p. 44). These variations will not
be noted henceforth 15 oxe’n pépovo’ RB: oxevndopotc’ V
al. : of sxevopopotc’ S$: oxevnddpovs Fritzsche. Dind. brackets
the line. —> Qu. <@s> cKevodopoia’ ? 16 viv RV
20 é7. Mss.: corr. A. Palmer. —> 27 dvos R: oivos (or
obvos) cett. and Eustath, —

30-46 BATPAXOI 3
EA. ovx 010: 0 & @pmos ovtToci—mLéfFeTat, 30
Al. oad 8 ovv érevdy Tov dvov od dys
b n
@penety,
b] La J \ \ 4 b / /
év T@ MEpeL TU TOV OVOY apamevos éEpe.
=A 5] 5 / / \ aN > ?
EA. olor kaxodaiwwv: ti yap éy@ ovK évav-
[eaxouv ;
h Tav ce KoKvev av éxédevoy paxpd.
AI. «atdBa, Twavovpye. Kal yap éyyds Tis
Oupas - 35
non Badifav ciwi tHod, of tmpaTd pe
éde tpatrécOar. tavdiov, mat, nui, Trai.
HPAKAHS> a ae
4 4
HP, tis thv Ovpay ératakey ; ws KevTaupLKas
See TR > / \ oS
évnrad doris: eitré pot, TouTl Ti Fv;
Al. 6 mais. BA. ti dorw; Al. ote éveOv-
/ : . ‘
- pnOns;
EIA. mat ean TO Ti; 40
Al. os ocdhddpa pw eure. EA. vy Ala, py
paivoo ye. |
HP. ob tot pa tiv Anpntpa Svvapar pi)
yerav
Kaito. SaKvw y é“auTov: AAN Spws vero.
Al. @ dampome, mpdcerdOe Séopmar yap Ti cov.
HP. add ody ofos Tr ci arocoBioa Tov
yérov, 45
op@v eovThy él KpoKaT@ Keipéevnv.
36 clue R. > _ 42 Anuyrpav (RK) illustrates a common

error with this word

4 BATPAXOI . 47—64
tis 0 vods; Tt KO0Oopvos Kat pomranov
EvynrAGErnp ;
Tot yhns amednmets ; Al. éreBatevov Krev-
o0éver—
HP. xavavyaynoas ;
Al. Kal KaTedvoapéev ye vais
cal 7 x / > NX sf
TOV Todepiov 7 S@dEeK 7 TpELaKaideKa.
HP. of; AI. vy Tov ’AmodXo.
BA. Kat eyory éEnypoynv. 51
an? * n >
Al. «ai Ofr émt Tihs vews avayuyvooKorTi
Loe
Thy “Avdpopédav mpos ewavtov é&aibyns
mo0os
Thy Kapdtay ématake TAS ole THodpa.
HP. 000s; mocos tis; Al. puxpods HrLKos
Monov. 55
pn TKOTTE pb, BEAD? Ov yap ann EXW
KAKOS* |
fa) C/ / f
ToLovTos tpwepos pe Svadvupaiverar.
HP. roids tis, wderdiduor ;
Al. ovK exw ppdoat. 60
duos ye méevTor coe Ou alviypav épa.
yA > » / > / 4
non ToT émeOvpnoas éEaidvys ETvous ;
HP. érvouvs; BaBava&, pwupianis y ev To Bio.
59 ? ey / \ / Xx 1 Me 3
Al, ap éxdtddaKw TO capes, TEpPa
ppac ;
48 Van Leeuwen rightly omits the stop usually placed after
Kreocbéver. —> 50 tpicKaldexa MSS., but see Meisterhans?,
p-. 41 51 Some mss. (not RV) give kar’ @ywy xkrr. to

Herakles. —> 63 pupidcs év V, but y’ is more vivacious

ae BATPAXOI 5

HP. px Sita mepi érvovs yet Tavu yap

pavavo. 65
AI. rovovtoal toivuy pe Sapdartes moOos
Evperrioov. HP. cat radta tod teOvn-
KOTOS ;
AI. xovdeis yé pw av reiceev avOpeérav To
1) OUK
é\Ociy én eéxeivov. HP. orepov eis
“Avdov KaTw ; 69
AI. kai vm A’? et ti y éotw ett KaTwrépo.
HP. ti Bovrdpevos ;
Al, Soar tronrod dekvod.
ol ev yap ovKéT elciv, of O bytes
KK Ob.
HP. 166°; ovx Today on;
Al. TOUTO yap TOL Kal Hovey

ES ia \ \
ét éotl Novtrov ayabor, ei Kal ToDT aipar
5] \ Ld 509 xO) wo N anf? ¢ yy
ov yap gap ol0 ovo avTo TovuO omras EVEL.
HP. é¢ir ouxl Loponhéa, T pOTEpov ovT EKvpi-

' TLOOU, 76
pedrers avaryewy, elmep y éxetOev Sei o
yew ; ;
AI. od, mpiv y av ‘lodavt’, aro\aBov avTov
jLovov,

bla / va) /
dvev Lopoxréouvs 6 TL Toe KwdHViCW.

65 The punctuation uh dfra: mepl érvouvs ye mdvu yap is
nearly as probable. (Even a later position of ydp is frequent in
comedy) 76 eir’ ot Zopoxréa Bentley, etc. —> || mpdrepov
avr’ A. Palmer. —> 77 elrep éxetOev RV against the metre
(avdgew Halm). ‘y may be a stop- gap, in which case etzep
<tip’> may be right. Qu. elrep y’ éxeiOev Se? &” dpa ?

6 | BATPAXOI 80-100

KadArwS 0 pév xy Kvpurldns, tavodpyos
Ov, 80
x ca) Pa / /
kav Evvatrodpavar Sevp émuyerpnoeré poe:
0 © evKoXOS pev evOd0, evKorOS 8 exer:
HP. ‘AydOov Sé wot ’otw; Al. amodurav p
aTrolyeTat,
ayabos montis Kat todewwds Tots pidoss.
HP. ot ys o tAnwov; AT. és paxdpov
eva iay. 85

HP. o 6¢ Bevoxréns— Al. e&ororto vy Ala.

HP. Iv0dyyeros 6é ;

SA. Tept éuod & ovdels AOyos
’ f \ a e \ /.
€mLTpLBouevouv TOV @mov OUTwWaL ohodpa.

HP. ovKouY érep gor évtadla peipaxvrAdua
Tpayodias TovobvTa mrelv 7 pupa, 90
EKvpetridov mreiy 7) otabdio NadioTepa ;

Al. émugudNides TabT éotl Kab cropdd\paTa,
YeMLOovov pmovceia, NwBnTal Téxyvns,

\ na an aA / \ /

a& ppovda Gatrov, Hv povoy yopov AaABn.
yovemov O€ Tromntny av ovy ebpors ett —96
Cntav av, GoTLs pHua yevvatov NaKoL.

HP. was yovrmov ;

Al. @OL yourpov, daTis POéyEcrar
TOLOVTOVL TL TAapaKEKLVOUVEUpEVO),

bd / \ - X /
atOépa Aros Swpatiov, i ypovov
7004, 100

81 xal MSS.: corr. Dobree 83 olxerar RV: arolyerau
vulg.: & olxerat Dind.: mod <mor’> . . olxerar Cobet: Qu.
» 6-0-ofxerat? —> 86 Usually a question-sign is put after
mevoxhéns. —> 90 mwuplas Dind., but a corruption was
more likely to be the other way

1or—118

HP.

HP.
Al.
HP.
Al.

Al.

HP.
AI.

BATPAXOI ”

> ,
) bpéva pev ovK €0éXovVGaV Opocat
> an
Kad LEepar,
an > a a / t Ot a
yAotTav 6 émlopKncacay wig THs
/
Ppevos.
an / \ A
aé b€ Tav’T apéoxer; AI. pardra Treiv
x /
7) paivomar. 1038
\ / > / val
m pnv KoBara y éotiv, os Kal cot Soxel.
fal P
fn TOV emov oiKEL vodv Exes yap oLKLaY.
a /
Kal pay aTeXVaS ye TauTovnpa paiveTas.
a al ’
Sevmvety pe Sidacxe. EA. rept euod 8
> \ /
ovoels Oos.
b 7 o@ / / \ \ 54
ann’ wvirep evexa THVSE THY TKEUnY EXWV
HAGov KaTa anv pipnow, iva por Tovs
/
Eévous 109
\ \ / > / \
Tovs aovs dpacevas, ei Seoiunv, otc od
n ‘7p > #
eypa TOO, nvix HAOEs emi Tov KépBepor:
TouTous dpdcoy por, ALypévas, ApToTe@ALA,
ad
Topvel, avaTavdas, éKTpoTds, KpiHvas,
e he
odovs, .
/ , Ca Se e
Tones, dtaitas, TavdoKeuTpias, Strov
/ | ea | an b
Kopels Odiytotor. HA. epi éeuov 8
/
ovdels ROyos. 115
9 / / \ +/
@ oKXETALE, TOAMNTELS Yap LEVaL ;
Kal ov ye
\ \ nan? fa
pnoev ett mpos TadT, adrAa hpdle Tav
tan
0O@V
4 bd / /
oTws Taxyiot adiEouel ets “Avdov Kata:

103 wadd\a WV: pdda R (cf, 745 wadX’ R: pdda V) 111
The punctuation KépSepoy * is better than KépBepor, >
118 érws BR: bry V. >

HP.

HP.

HP.
Al.

HP.
AI.
HP.

HP.

HP.

BATPAXOI i190—-137

Kal pynte Ocpuiny pnt ayav w>Wuypav
ppacns.
/ / ” de | b] (a) / 2
pepe 57, Tiv avTav co. dpdow TPwTNHV ;
Tiva ; 120
4 \ \ ” b] \ / >|
pia pev yap éotiw amo KadXw Kal Opa-
7 eae
/ / a“ \
Kpeuacavts, cavtov. Al. rave, triynpav
reyes.
? >: b) \ / /
arr éoTti atparros EvyTomos TeTpLLpevn,
¢ PS \ / oe / /
» Ova Oveias. Al. apa Kaverov RéEeyers ;
parwoTa ye.
poxpay ye Kab duaxelpepov: 125
evOus yap amomnyvuct TEV TURD I [bd
BovrAe Taxeiav Kal KaTavTn cor dpacw;
\ \ Av? ¢€ 4 \ 5 n
vn tov At, ws ovtos ye pn PBadsotiKod.
J / b] / 5
gkabéptrucov vuy és Kepapecxov. Al. etra
Th ;
avaBas émt tov muipyov tov wtyndov.
AI. ti dpe ; 130
adiepéevnv tiv Naprad évTedOev Oecd:
KaTELT ETreLloav haatw ot Oewpevot
civat, TOO eivat Kal ov cavTov.
mot; HP. karo.
GX’ atrorécayw av éyxepdrov Opiw Ssvo.
> XN / \ €Q\ VA
ovk av PBadicayus THY Oodovy TaUvTHDY.
HP. ri dat; 135
yvTep ov ToTe KaTHrOes.
aXN’ 0 TAOVS TONS.
evOvs yap emt Aipvny peyadrnv HEevs mavu
124 Ovias (R) is a wrong spelling

138—160

HP.

Al.

HP.

Al.

HP.

Al.

HP.

BATPAXOI 9

aa na /
aBvocov. Al. eita was TepatwOnoopar;
év ovaplm Tuvvo’T@L o avnp Yépov
vaorns did&er S0° OBorw picOov AaBov.
ded. os péeya Stvacbov Tavtayod Tw
dv. oBore. 141
n b] / > rn
TOS HAGETHV KAKELCE ; 3
Oncevs Hyayev.
\ Ps DOE \ Pp /
peta taut ders Kat Onpi drew. wupia
/
dewvoTata.
/ > + \ /
pn mw exmAnTTe pnde Setuatov'
/
ov yap m arroTpérers.
eita BopBopov moAvy 145
Kal cKop daeivovs év S€ TOUT KELpEVOUS
et tou Eévoy Tis HOlLKNOE TWTOTE,
Xx {9 b) / xX \ /
7) wntép nronoev, 7) TaTpos yvabov
b] / re 4 / e/ 7
émaTtakev, 7) TiopKov OpKov wmocev, 150
X / Cn > /
7) Mopoipouv tis phow e&eypaato.
vm Tous Oeovs éypiv ye 7 pos TOUTOLOL Kel
THY Tuppiyny TEs ewale THY Kuvqatov.
évtev0ev avrX@V Tis cE mepievow TVON,
Ores Te HAS KdANCTOV, WaoTrEp EVOdOe, 155
Kal puppwavas, Kal Oidcovs evdaipovas
la} n / a
avop@v yuvaLKov, Kal KpOTOY xELpav
TONUD.
outro. dé 6 Tives eiciv; HP. ot pepun-
/
pévot, . 158
\ \ /) EM” an v BA /
vn tov At éy@ your évos ayw puoTnpia.
atap ov KabéEw tadta Tov TAciw Ypovor.

149 jrolnoev MSS. (the epic form): 7Adqoev Suid. 151
}) ei Mopotuouv Meineke. —> 159 dyw RV: dywv al. >

10

HP.

NE.
Al.
Al.
NE.

BATPAXOI . 161—176

vf / t Rene 3 / al & BY dé
ot cot ppacove amakdravl wv av en.
® / > \ \ eQ\
OUTOL-yap éyyU’TaTa Tap avTiy THY OdoV
a a / A /
éml tator Tov IINovtwvos oixodaw Ovupais.

Kat Vai pe TOAN, WOEAPE.

vn Alia kal ov ye
by taive ov O€ TA OTpOpaT avlis AdapBave.
py Kab catabec ban ; ; AL. nal raxéos
pévTOL Tavv. 166
ra 670, ixetevw o, GAA piobooai TWa
Tov éxbepopévor, darts éml TodT Epyerat.
dav S& un etpw; BA. toTe pw aye.
Kadw@s érvyets*
Kal yap Tiwes pépovat TovTovi vexpov.
oUTOS, T& Aéyw pévTOL, oe TOV TEOVHKOTA*
avOpwre, PBovrde ocKevdpr eis “Ardov
pépew ; 172

NEKPOS

a) 4 /
moo attra; Al. ravti.
dvo dpaypwas putcOov tenes ;

pa AC, AWN érartov. NE. brrdye® tpeis

THS OO0d.
5) / iy , > +\ (al /
avapeivov, @ Satmove, €av EvpBO Ti cot.
et pn KaTabncers Ovo Spayuds, pn S1a-
Aéyou. 176

169 ui) eUpw or undpw (RV) Mss. : wy éxw var. lect. ap. schol.
For the synecphonesis see Introd. p. xlii. || 767’ &’ Bergk.
170 rwes éxpépovor (a gloss) al., whence tw’ éxpépovor Elmsley. —>
175 iva EvpBO R: éay al.: wa dv V. The errors arose from

Oalmovieav

e

177—189 BATPAXOI 11

Al. r»aB’ ewe GBorod’s. NE. avaBioiny vv
Tan.

EA. > ceuvds 0 KaTdpatos: ovK oipw€erat ;

éya Badvodpar.

Al. xpnoTos ei Kal yevvddas.
—xwpapev, él TO Trotov.
XAPON

\ @o7, mapaBadod. 180
EA. rovtt tl got;
Al. TovTO ; rAipvn vy Ala
ef ? \ A BY \ al 9S eno
avTn oTw nv eppate, Kat TAOLOY y Opa.
EA. v-rov Tloceda, cdott y 0 Xdpwv ovtoat.
an? 5 / n 3 / nm?
Al. yaip @ Xdpwv, yaip Xdpov, xaip
® Xdpov. 184
, > d- / > nm pee. / "
XA. Tis eis avaTravXas €x KAKOV Kal TpaypLaTor;
“4 > % / / XN > ” /
tis es TO AnOns Trediov, 7} eis OvoU TrOKas,
xX > / x > / xX 9 \
7 s KepBepious, $s Kopakas, 4 ‘Ti
Taivapov ;
Al. éyo. XA. tayéws euBauve.
he “rod axynoew Soxeis ;

¢

O
fe
@

%

jean
és Kopakas OvTas ;
n /
XA, vat pa Ala, cod y elvexa.

177 dvaBinv (or -Biudnv) Mss.: corr. Cobet, ete. (With
dvaf.o-in-v cf. Ge-in-v) ‘ 181 AI. rovri ri ort; ZA. Totro ;
hiuvyn. AI. vy Ala x«.7.X. Van Leeuwen 186 7 ’s “Ovou |
mokas RV: 7 eis al. The latter is correct before vowels. “Oxvov
m)oxds (Bergk) is no improvement 188 ro RV: ot al. —>

189 elvexa R: &vexa V: otvexaal. Prose inscriptions show
only évexa. For statistics as between otvexa and elvexa see
Meisterhans?, p. 177. These are more in favour of otvexa, but
probably both forms were in use

12 er BATPAXOI 190-204

éxBawe oy. Al. rai, devdpo.
XA. SovAoY ovK ayo, 190
el py vevaumaynKe THY TEPL TOV KpEwD.
EA. pa tov At’, od yap adr érvyov 6pOar-
MLOV.
XA. ovKovy trepiOpéEes Sta THY Nipwyy KUKA® ;
BA. cod fr dvapeve ;

XA. mapa tov Avaivouv diOor,
aay cal > / /
él tais avaravias. Al. pavOavers ;
EA. mavu pavOava. 195

7 / aA ae > ,
oifot KaKodaipwv, TH Evvétrvyov eEidyv ;
XA. xaQil ért Kornv. et Tis érriTnrel,

/
OTTEVOETO).
OUTOS, TL TrOLELS ;
rn b ] / > XS
Al. 6 7 Tow; TiO ad\AOY

~ 2 z « Dem Bs / /
: ifm Tl KWITNV, OUTED EKENEVES ME OU;
XA. ovKxovy Kabedet Shr évOadi, ydortpar ;

Al. iédov. 200
XA. ovKovy mpoBarei Tw yeElpe KaKTEvels ;
AI. (dou.

XA. ov py phrvapynces ~xov, AX avTiBas
> n vi
éXas mpolvpas.

Al. KaTa ToS SuVHToLAL,
/ > / > ?
atreipos aBahatTwTos acadapivios

190 éoBoave RV: éuBave al. The variation from v. 188
may very well be deliberate 191 vexpav al. —> 193
Kuk VR: rpéxwv al. Qu. tpdx@ (cf. curriculo currere) ?
194 avaivov Mss. The Attic is ab- 197 érc wie? Reiske
and most editt. without need. —> 199 otrep RV: oizrep
al. ef. 188 || éxéXevoas al. —> 201 Accidentally omitted
in R from obvious cause 204 a@addrrevros Kock, but ef.
éperudoat xépas (Kur. Med. 4)

205-223 BATPAXOI 13

A 3.3 /
MV, eT éAaUVELD ;

XA. pador* aKkovoer yap médXn 205
KaAMoT, érevdav éuBaryns arak. Al.
Tivev ;

XA. Batpayov kikvev Oavpactd, Al. Kata-
KéNeve 02.
XA. ‘@oT O17, woT OT.

BATPAXOI

BpexexeneE xoak xoa€,

BpexexexeE xoak xod€. 210

Aimvaia KpHnVOV TéKVA, |

Evvavrov tyvov Boav

POeyE@pucl’, edynpvy euav aodar,

Koaé Koaé, |

A > \ N / a

Hv audi. Nvoniov 21

Avos At@vucoy év

Nipvarow tiaynoaper,

mvix, O KpacTraroK@pos

TOLS bepotar Xvrpwgy, y

CLAY A ©

NOpEel KAT EMLOV TEM“evos AAV by Ros.

BpexexexcE oak xoa€. 220
AI. éyo Sé xy adyeiv dpyopat

Tov Oppov, @ Koak Kodak:

Ae > + >Q\ UA

bpiv & tows ovdéev péreu.

207 Barpaxoxixvwy Bothe. —> 215 jv mss. The lyric
(so-called ‘ Doric’) forms are very inconsistently used in the
mss. (thus Body, doddv, popuxtas, auépatow, but Hv, Kpnvar,
edynpur, jvix’, edmrios). In comedy it may have been enough

to give some salient words this lyric colour 216 Acdvucov
Mss.: corr. Hermann (for metre) |

14

BA.
Al.

BA.

Al.

Al.

BA.

BATPAXOI 225-253

BpexexexeE xoak xod€. : 225
arn é£oroc8 aitad Kodak.
ovdev yap éoT adr % Kodé€.
eat A > 9S \ /
ELKOTMS Y, ® TOANA TpPAaT-
b] \ \ ” BA / re
Tov’ eu“e yap éotepEav evrvpoi te Movoar
kal KepoBaras Ilav o Karapopboyya
f
TraLOV 230
mpogemvTepTer ant o 0 PoppiKTas "Amor,
&vexa Sovakos, dp UToNvpLOV |
évudpov év Ripvats TPépo.

BpexexexeE xoak xoa€. 235
pi 8 \ / ; 9) Ae

éyo S€ pdruKtaivas y exo:

GAN, @ hird@odov yévos, 239
mavoaa Ge.

MaGANOV pev ovY
bOeyEOmecO, et 8H ToT ev-
nrLows év apépatow —
nraperOa Sua KuTreipov
Kal pr<w, YalpovtTes @dHs
TOAVKOAUULBHTOLTL [MéNECLD, 245
7 Avos devyovtes buSpov
évudpov év Bv0@ yopeiav
aiorav épbeyEduccba
TouporvyoTrapAdc pact.
BpexexexcE xoak Kod€. 250
TovTl Tap vpov ANauPava.
ded Tapa TrevcoperOa.

245 modvKod\vuBoior wérXeow RV: corr. Fritzsche: mrodvKodvp-
Bow pédreoow Reisig 253 7 dpaV: yap R: vy dpa al.:
corr. Elmsley

254-273 BATPAXOI 15.

Al. Seworepa © éywy, édavvov
et Svappaynoopas. 255
BA. BpexexexéE xoak xoak.
Al. oip@ger’> ov yap pou pérer.
BA. adda pnp KexpakoperOa Yy
¢ / j e / Xx ¢ on
» papvE omocov ay nuov
yavoavy dc’ 7épas. 260
Al. BpexexexéeE Kodak. xod€.
TOUT@ yap ov viKnoeTe.
BA. ov0€ pnv nuds od TavToas.
AI. ovdémote: Kkexpatouar yap,
> an ’ P
Kav pe On Sv apépas, 265
Ews av vuav émikpaTnow T® Kod€.
\ \ /
BpexexeneE coat xod€.
euedXdov apa travoev oO bas Tov Kod€.
XN foal nr ; a A ,
XA. @ Tate Tave, TapaBadod TO KoTio.
&xBaw’, arodos tov vadrov. AI. eye 87
TwOBOAD. | | 270
0 Bavlias. cov BavOias; Zavbias.
EA. iad. Al. Badile Seipo. EA. yaip’, @
déo7r0Ta.
Al ti ott =tavtavOoi; HA. oKotos Kal

BopRopos. n/* pou

258 omdcov 7 pdpuyé (or Pdpvé) av Mss., an impossible order,
—>: corr. Bachmann: ¢dpvé (R) appears to be correct, pdpuyé
being due to Adpvyé ; cf. Herodian i. 45. 4 and the oblique case
pdpvyos 266 kdv we Of V (67 RB): déy or det cett. >
267 ro RV: r@al. The line is iambic trimeter 270 dodovs
Halbertsma, but the curt imperat. is more characteristic || 7d
vadrov al. Callistratus (in schol.) vouches for the masc. as
the older 273 tavravdi Dind. The text has the pregnant
sense ‘in that direction’ |

16 | BATPAXOI 274—290

nA \ /

AL. KQTELOES OUV Tov TOUS TATpanoias avTob.
\ / a /- n

Kal TOUS €7LOpKoUS, ods Edeyev Hiv ;

EA. ov 6 ov; 275
; Aas fal
Al. vy tov Iocedd yorye, Kal vuvi y ope.
dye On, TL Spoper ;
BA. mpoievar BéATicTA VOD,
f ®
@s oUTOS Oo TOTTOS éoTlv ob Ta Onpia
\ ' px) + bd 3 an
Ta dey Epack éxetvos—
Al. Ms olpoferar.

mratoveved’, iva pon Geinv eyo, 280
ElO@sS Le pee pov ovTa piroripovpevos.
ovdév yap ovTw@ yadpov éo0 ws “Hpa-
KS.
éry@ O€ sf evEaiuny av evTuxely TLL,
Na Beiy 7” ayonope “akiby TL THS) OOOD.
BA. vy tov Ala: Kal pnv aicOdvopa ~Wodov
TLVOS. 285
AI. ov; mod ’oTw; BA. é€omicbev, Al.
éforicO iO.
BA. adr éot &v TO tpdcbe. AI. rpdcbe
vuv t0c.
EBA. kal piv op® vy tov Aia Onpiov péya.
Al. ‘otov tT;
BA. Sewvov' TavTodaTov your fliweras:
TOTE [ev 76 Bods, vurt 8 bpevs, tore &
av yuv”n 290
279 elvar Ta Sel’ Epackey Hamaker, ete., but the sense is never
completed (Ed. ) 285 vy Tov Ala xal x.7.’. MSS. and editt.
Punctuation Ed. 286 éfdmioGe viv it vulg.: é&dricber ad

10. Vi: é&dmricbey te R: é&bric0’ te Dobree. Qu. dmicbev ody
ix 2 290 rére.. Tore RV: wore. . woré al. (Both are Attic)

, i , Eames £x }> >

OF THE

(UNIVER =i

291-3 CALIFORNIA ATPAXOI 17
aparorarn tus. Al. wot ’ots; hép er
avray io.
EA. aA ovKeT av yur) ‘oT, aXn’ 481 KUOD.
Al. “Eyutrovea toivuv éoti.
BA. | Tupt yoov Nauretar

émav to mpocwrov. Al. kat oKédos

Xarcodv EXEL ; | 294

BA. vn tov ITocedd, Kab Boditwov Parepov,

wt aap’ t ict. Al. aot S47 dv TPaTOLpmY ;

BA. ” got 8: éyo ;

Al. feped, StadvrAakov i iv @® cou Evptrotns.
-BA. artrodotvpel’", ovat ‘Hpaehets.

Al. : ov pn Kanrets fs

avopod, iKeTevey, ponoe Karepels TOUVOpA.

EIA. Atovuce toivuy. Al. todTo y &@ Arrov

Oarépov. 300
EA. i0 aarep épye. Sedpo Sedp’, @ SéomoTa,
Al. Ti. 8. eate
EA. Odpper: mavt ayaba mempayaper,
teatl O damep ‘Hyéroyos typiv réyew:
é€k kKupadtav yap avdsis ado yarhp
Ope.
humovoa ppoven. Al. xatopooov. BA.
vn tov Aia. 305
Al. xavOis xatopocov. EA. vm Av.
Al. duocov. KA. vm Ala,

Al. oipor tddras, ws wypiac adtiy ido:

300 robré y (without 20’) RV: Tobré y &o0 al.: rotré vy’ &6°
D: rotr’ &@’ Fritzsche, etc., but y’ seems essential. There is
no trustworthy rule of division of anapaest after the first short

syll. (Starkie, Vesp. Introd. pp. x1 sq.)
CG

18 BATPAXOI 308—325
EBA. 00) d€ deioas trreperuppiacé cov.
AI. olor, wo0ev por Ta Kaka TavTl mpocé-
TEE ; |
‘ mee} > / an > ? /
Tiv atTidcopar Oe@v fw amroAAvVVaL; 310
>] / x / x 7
al@épa Atos Swpatiov, xXpovov
jTwooa;
EA. ovtos. Al. ti éotw; BA. ov Karnxov-
cas; Al. tivos;
EA. avrov mvojs. |
oY ee OU /
Al. — éywye, kat dadov yé pu
avpa Tis eloéTVEVTE [MUTTLKMTATN.
aXnN Hpeut wrnfavtes axpoacwpeba. 315
— XOPO® MTZTON
“laxy’, ® “laxye.
‘laky ; @ “laxye.
BA. ovr éor éxeiy, @ Seomr00’: of pemun-
[LEVOL |
évtav0a tov raifovow, ods eppave ver.
doovet yoov Tov taxyov Ovmep Ou’ ayopas.
b) \ fa ¢ / rae ”
AJ. «apo Soxovow. novyiav ToLvuy ayew 321
Bérrictov éotiv, as av eiddpev capes.
XO. “laxy’, @ modvtTipots &v Edpars évOdde
VaLwv, Fe ‘
“lary A) ‘lake, 325
308 cov R: pov al. (originally assigning the verse to AI.)
310 airedowuar Dind. —> 320 taxxov rather than “Iaxyov
should be written. —> 6 dyopaés V, Apollodorus Tarsensis,
Hesych.: Acaydpas R al. —> 323 moduTimjrors ev Edpacs

RV: év om, al.: corr. Hermann

326—351

BATPAXOI 19

EXGE TOvd ava elpwova yopevowr,

oatiovs és OacwTas,

ToNUKapTOY Mev TLVATOWY

jTept Kpatl o@ Bpvovta vet 329

orépavor. HUpTOY, sate S cpr apaiay

Tool Tay GKONATTOD )

rrorratrypova Type | ,

yapitov TrEloTov ~xoucay pépos, ayvar,
lepav “935

oo lous pvotats yopelav. |

@ TOTVLa TonuTipmre Anpntpos Opn,

Os 760 pot MpocémvEevce Yotpeiwy KPEOV.

ovKovy atpéu e€es, hv Te Kal yopdhs
AaBys ;

eyeupe provyéas NapTradas év xp yap
Jusounia 340

“lary, @ "laxye—

puxtépov TereTIs hwohdpos aorip.

préyeta 5 hroyl remwov:

yovu mdddeTat yepovTwr: . 845

atocelovta, dé AVTaAsS

ypovious T éTaV TadaLav éviavTods

* al Se. one. \ Pe oe
lepas UTO TLMas.

av 6 Aaprrads peyyou 350
TpoBadnv tay én Bese scsie ENetov ba-
TeOov

340 éyeipe provyéas Aapmddas ev xepol yap Hee Tidoowy RV:
hers cett. : twdocowv om. al.; corr. Thiersch. Others omit yap

HKeEL, —>

344 groyl péyyera O¢ KR al.: groyl Preyerac

dé V al.: corr. Hermann 350 gdéywv MSS. ; corr,

Bothe

1

20 - BATPAXOI 352-306

XOpoTroLov, paKcap, Bar.
KOP., evpnpely xpn Kakicracbar TOLS NMETEPOLAL

‘Xopotow
boris dimespos toavde Oyor, i) youn
pn Kabapever, 855

BD / ” nt (fees Wed

i) yervaiov . dpryoa Movody pnt elder
BHT éxopevcer,

pndé Kpativov tod tavpoddyou eens
Baye éreréocOn,

}) Baporoyoss éreow yaiper py “vy KaLp@
TOUTO TOLOVGLY,

x / b] a \ f >

H oTtacw éyOpavy pn KaTadver, pnd
eVKONOS é€oTL ToONTALS,

GXN aveyeipes kab pumiler KEpoay tol@v

eTrLOupor, 360
) THS ToAEws Yeiwalouevns apYwv KaTa-
Swpodoxettar, §

eight. / / XA n X b] /
Tpodidwow dpovptoy % vads, 7) TaTrop-
>
pNT aroTrémmes
é& Alyivns Owpuvkiov ov eikoaTodoyos
KAKOOaLMOY, | |
ipl / \ / \ et /
ATKOMATA Kal iva Kab TiTTaY dvaTré“TTOV
ets “Eidavpov,
Xpiparas Tals TOV aVTUTaXwY vavolY
Tapéeyvew Tuya melOet, 365

Se

/
n KATATUNG “TOV ‘Bxatalov KUKALOLOL
Yopotcww vTdowr,

355 youn RV: yrounv al. —> 359 moXirys al. For
absence of article see —> 361 Karadwpodoxet 7. Blaydes. —>
366 “Exarelwy Blaydes, —> || drddwy V; érddwy R

‘

367-383 BATPAXOI | 21

i) TOUS po0ods TOV ounrisy prjrop ov
er dmrotparyet, nf

Kopwonbels “ev Tails matplos TedeTais
tats tov Avovicov: :

TOUTOLS mpaved Kavis rupee Kavbes
TO TpiTov para Tpwavde =

Ige/ Va aa) e Taal 9
éEictac0at pvotaioct xopois: wtpeis 46

aveyelpere poNt7v 4 878
Kal tavyvyioas Tas meTépas, ai THdE
TpéTovol €OpTh. :

XO. yoper vuv tas avdpelws
és Tovs evavOeis KOoXTrOUS
Aelovov eyKpovov
KATO KOT TOV 375
Ka Twailwv Kal yrevatov.
nplornTat & eFaprowTas.
ON euBa yoros apets
THY YoTepayv yevvatws
7H pary pormralov, |

n- THY XOpav | 380
\ ef ;

optew dyo és 143 wpas, |

Kav Supucior pr BovrAnrar. -.. 381

KOP. dye vuv érépav tyvov iStav rip ogee
dopov Basinevay, ,
Anpuntpa Gear, émrukoo podvtes tablou.
portals KeNadelre. ie

369 rovros dravd® kabOis dravd® . . udd aravdd R: rovrois
avé® V and Aul. Gell. Praef.: corr. Blaydes. — 372
6H viv RV (by a frequent gloss on vuv ; cf. 891, 1378): vor al.
377 aipers R: aipjoecs V (i.e. aipys corrected by -es): corr.
Scaliger 380 odoev Cobet. —>

aang en Se BATPAXOI 384-413

XO. Anpntep, ayvdv opyiov
dvacoa, CupTapactate, 385
Kal o@fe Tov cavThs xopov:
kai pp acharas Tavnpepov
matoal Te Kal yopedoat:
Kal TOANA pev yérord pm ei-
“ety, ToAXa S€ oTrovdaia, Kal 390
THs os éoptns akiws
maicavta Kal oxonpayta vW-
KnoavTa Taiwovcbas.

KOP. avd ela 394
vov Kal TOV @patov Oeov mapakandeite
dedpo 395

@daiot, Tov Evvéwropov thade THs Yopelas.
XO. “larye ToNVTLUNTE, féXos EopThs
Hotstov evpov, Sevpo cvvakonrovbet
mpos tHv Oeov Kat Sei€ov ws 400
dvev Tovov ToAAY OddV TeEpaivers.
"laxye piroxyopevtd, cupmpotrepurée pe,
ov yap Katecyiow pev él yédorTe
Kat evTedela TOV TE GavdaicKoY 405
Kal TO padKos, KaEndpes wor
atnpious taivey Te Kal yopeverv.
"laxye pidroyopevtd, cvprmrpotemré pe.
Kal yap TwapaPréras Te petpaxioKnns
vov 5) KaTetooy Kal par evmpoowmov:
"laxye pidoyopevTd, cupmrpoTewmée pe. 413
397 uépos Kock: ré\os Meineke. —> 404 xaracyiow pev

R with é&edpes in 406; whence kxaracxicdmevos . . e&nipes
Kock. —>

BATPAXOI | 23

414-449
Pan aN ~~) Su37 / ? / 5] .
Al. éym & det twas PidakonrovOos eps Kai
Tailov yopeve Bovropa. FHA. Kdywrye
Tpos.
KO. Bovrccbe Sita Kow? Oe: "416.
oKanfreopey “Apxéonpov,
Os emrerys QV OUK épuce ‘pparepas,
pur 88 Snuaywrye?
év Tois avo vex poict, Rh sa
KaoTly Ta Tpara THS €KEL poxOnpias ; ;
AI. éyour’ av oty dpacat vO@v
TlXovtav baov *vOdS oiKel ;
Eva yap éopev aptiws aduypévo.
KO. yndév paxpay aédOns,
’ 5 > /
pnd avlis erravepy He; 435
ar ich em avrny Thv Ovpav aduypévos.
Al. aipow av abt, G) Tal.
EA. toutl ti hv TO mpdypya
, Bh \ / 5) n / :
arr 7 Avos Kopw6os év tots otp@pacw ;
KO. yopeire 440
vov tepov ava KvKrov eds, avBopopor av
aNoos
maifovres ols petovoia Deopiroos cop Tass
éya O€ avy Taicw Kopats ecips, Kal
yuvarély 444
& / ; A / e \ yy
ov Tavyvyifovow Gea heyyos tepov olcwr.
XO. yapapuev és modvppodovs ing) pas
epavas avbepwders, |
. 414 mss. add wer’ airjs at end of the line. are 415
matvew Naber 418 pdropas MSS. —> 432 IIovrwv
RV: ID\ovrwr’ al. 444 sq. Some editors give these lines

to AI., others to KOP. 445 deal V al.

24 BATPAXOI 450—466

\ ¢ / / ‘

TOV 1/{4ETEPOV TpoOTrOV — 450
TOV KANLYOPWTATOD |

/ A /

matCovtes, Ov ONGBtaL
poipas Evyayovow. -
“povois yap nuiv HrLOs

Kal péyyos tNapov Earp, 455
door pepunwed ev-

ceBH Te Sunyowev

Tpotrov ep tovs Eévous

Kal ToUs toLwras.

AIONT>O3. HANOIAS. XOPO®

AJ. dye 67 Tiva TpOoTrov Thy Ovpay Koro ;
Tiva ; 460
hee. 4 f i$ ,

Tos €vOadd apa KOTTOVOW ovTLY@pLOL ; .

EA. ov pr Svatpinvers, Ada yevou Ths Ovpas,
] id / \ an \ \ n 3

ka@ “Hpakdéa tO oxjpa Kat TO hp

Eyov.

Al. wait tat.

~~

~ATAKOS.

TiS OUTOS ;
Al. Hpaxdijs O Kaprepos. 464
AIA. @ BBEAvpE avate guar’ Kal Tohpmpe ov,
Kal puape Kal Tappiape Kal plapwrTare,

453 “Qpa Meineke. —> 455 iepdivy RV (the best mss.
thus showing an inferior reading): idapdéy éorw vulg., but éorw
seems required 462 yedoar V: yevon: R (the true form ;
ef. sup. 3 crit. note)

467—486

BATPAXOI 25

os Tov KUY nuav éeXdcas TOV KépBepov
> n& BA 2 | PS \ v7 AaB /
amntas ayyov KaTrodpas @xou OV,
A b] \ ] / >] ie: an xy ‘ /
ov éy@ hvdaTTov. adda VOY Evel METOS*
Toia Xtvyds ce peravoxrdpo.os
wi " ;
TET Pa : 470
3 / £ , e
AxyepovTeos TE CKOTENOS AlmaTo-
oTAaYyNS
ppovpovar, Ka@xutod te wepidpopmot
KUVES, :
"Eyidvad @ Eéxatoyxéparos, 1) Ta
omNayYVa cov ;
/ / ’ > /
StacTapa€kes, TrevuLOvav T avOa-
areTat
Taptncia pvpatva: To vedpw Sé cov
AUTOLTLY €VTEPOLTLY HLAT@MEeVw 476
Staomdacovrat Topyoves TesOpaorat,
b] 25a > \ a e / /
ed as éym Spopatiov oppynce Toda.
ovTos, TL Sédpakas ; oOvK avacTHaEL TAXU;
/ , ws val > /
mpl Twa o (dety adXOTPLOY ;
3 GXN @pakid. 481
GNX’ oice Pos THY Kapdiay wou ohoyyiar.
idov rae. _Tpoabod.
Tov eras BA. ® ypuool Deol,
évradd eyes tiv Kapodiay ;
Seicaca yap
> \ / / /
eis THY KaT@ pov KoltNiav KaleiprvuceD.
@ deirAoTaTte Oedy od KavOporror. 486

474 mevpdvwv (RV) is the older form (cf. .pulmo, Skt.
kléman) : mvevpdvwv vulg. 477 TiOpdova MSS. : TecOpdorac
inscriptions 483 The ss. wrongly give mpocdod to AI. —>

26

Al.

EVA.

Al.

Al.

lil
>

Al.

BATPAXOI 486—504

ery ;
an / 4 \ v /
TOS OetrOS, boTLS ThHhOYyyLaY TNOA GE;
te ‘a ee a \ fT oF /
éyo © avéotny Kal. TpocéT arreWnodmny.
b) as > 9 /
avopeta y, @ Ilocesdov.
, oiwar vy Aia. 491
\ > \ / a
av 8 ovx éecas Tov Wwohov TeV p7y-
/
PaTOV
ompl b bd
Kal tas ameidds; BA. od pa Ai’ ovd
/
eppovTica.
10. vuv, érrevd7) AnwaTtias Kavopelos Ef
Hn Anparias Kévdpetos éi,
\ \ a Pb] \ \ id
ov pey yevod “y® TO poTradoy TovTi
\
AaBov 495
\ \ an /
Kat THY deovTiV, eitrep aboBootAayyvos
E€ e
: ioeae / / b) fal /
éyo 6 Ecopat cor cKEevopopos ev T@ pépet.
VA \ / af 3% > \ b \
dépe On Tayéws avT* ov yap adda
TeloTéov*
\ /
Kat Brépov ets Tov “HpaxrevoEavGiar,
> \ 4 \ \ \ \ nn?
ei Oetdos éoouat Kal KaTa cé TO Hp
4
EY OV. B _.. $006
\ / , an f
pa Av’ adr ardnOads ove Meritns pa-
/
oTuyias.
/ > \ \ / > x di
pépe vuy éy@ TA OTP@paT aipwpat Tadt.

ev

®EPAITAINA

@ pirtal” hres “Hpaxnreus ; dedp’ e’orOe.
¢ \ / b) e b) / 7 oe % bia WA
n yap Ocos o ws érv0eO ‘HKovt, ev0éws

494 Anuarias is a var. lect. (V and schol.). > © 499 és
Dind., but the uniformity of treatment before consonants is
not so certain as before vowels (Meisterhans?, pp. 174 sq.)

504-523 BATPAXOI 27

/ @ n 4
ETETTEV APTOUS, WE KATEPELKTOY YUTPAS
by 4% xX A n > / >]
Ervous Ov % Tpeis, Bovv amnvOpakt
OXOV, 506
rn v J >]
TNAKOVYTAS WTTTA, KOANdGBovs—arn Sees
me > an
EA. xKdANoT, érayo.
\ > / / > \
OE. pa Tov AmroA\Xw ov pn o eyo
/ > / > b] / \ /
meptorouamreN Govt , €mrel ToL Kal Kpéa
> / > / \ /
avéBpattev opviPera, Kal Tpaynwata 510
4 s / /
Eppuye, K@VvoY aveKepavyy yAVKUTATOV.
b , — ‘ n
GXrX clot? au éuot. KA. travy Kkaros.

OE. Anpets Exov
ov yap o adyjow. Kal yap avdrnTPpis
yé oot

Hon ‘vdov éo8 wpatoratrn KwpxynoTpioes
i aig dv. 1) Tpeils.

BA. TOS Neyets 5 : opynompives ; ;
OE. ard’ eiciO, es o pdryerpos On Td veulie
Gwenn’ adhaipety yn tpamel eionpero.
EA. i0¢ vuv, dpacov siege Tails opyn-

otpiow 519

Tals évdov ovaats avTos Ott elo Epxopiat.

0 mais, axorovbe, Sedpo Ta cKkevn pépar.

Al. emiaxes OUTOS. ov Ti Tov orrovdiy Tet,
oTin oe trailwv ‘Hpaxréa *verxevaca ;

505 Kxarepixtav RV: xarepecxrdy al. . 507 detp’ eloihi R
(from 503). It seems best to punctuate and mark aposiopesis
as in text (Ed.). 509 mrepi6Wouwae dredOdv7’ R (rrepidou’
V): corr. Porson: mepusfoua éravodvrT’ A.Palmer . 513
avdyrpls te V 520 orc R: or’ V: ws al. (to avoid hiatus.
See Introd. p. xlii) 522 moe? V: moets R, al. The latter
is quite possible. —> - §23 “Hpaxdéa VY éoxevaca vulg. (with

the ordinary stop- gable hpakdre éoxevaca R: corr. Elmsley. >

20 |

EIA.

BATPAXOI 524—541

> \ ae ES hme
ov un prvapyces eyov, @ Bardia,
BJ > > / ‘ By / \ /
QaXX apapevos oioels TAN TA OTPMMAaTA’
/ ] / 4 >]
ti & éotw; ov 5n Tov p adheréobar
dvavoet 526
A 3 Ron
GOWKAS AUTOS ;
> a
ov Tay’, AXN On ToL.
/ \ /
KkataBov TO Séppa.
aed /
TAUT éy@ papTvpomaL
\ a n
Kal Tots Oeotow émiTpéTro.

Al. motos Oeors ;
\ \ ol / > > » an \
TO O€ TpocdoKhaai o ovK avonToYv Kal
KEVOV 5380
as SodAos Oy Kal Ovntos "AXKunvns ever;
SA : De A an Tad =e By] / f
EA. apedel, KAXWS* EX AUT. lows yap TOL
TOTE
éwod Senbeins av, ef Beds Oédot.
XO. tadta pev mpds avdpos éote 534
voov éyovtos Kal ppévas Kat
TONAA TTEpLTETAEUKOTOS, 585
/ ¢ \ DUG
METAKVALVOELY AUTOV aeét
mMpos Tov ev TpaTTovTAa Tolyov
PaAXOV 1) Yyeypaypméevny
Meat ee Dale. 4 MA I 9.
elxov éotavat, AaBovl’ év
a \ \ /
oyna: TO bé petactpéper Bar
mTpos TO parOakwTepov
SeEvod mpos avdpos éott 540
\ / /
Kat pvoet Onpapevors.
&
526 ov rl mov V 531 ddKxunvys (i.e. 6 “AXx.) Lenting,
etc. —> 536 weraxvAlivoew R: weraxvdwvdew V. —>

549-563 BATPAXOI 29

ITANAOKETTPIA

IIkabdvn, UWrabavn, Setp’ 0, 0 rav-
ovpyos ovTodi, |

Os els TO TavdoKelovy elaeXO@v ToTE .550

e , 5 ¥ / > € ral

éxxaidek aptous KaTépay. nuav.

ITAA@ANH
vn Lia,

b) an ory N an ‘oe \ To /

éxeivos autos OnTa. BA. Kakov HKet TL.
TIAN, wal xpéa ye mpos Tovtowcw avdBpacr

ELKOO LW

av npwoBormaia. EA. deceu tis diKnp.

TIAN. «cal ta ocKopoda Ta TodXda.

Al, Anpels, @ yUval, 555
J § > e /
KovK olo@ O TL EyeLs.
ILAA. ov pev ovv pe TpocEdoKas,

¢ \ / 5 A a / *
oTtn KoOopvous etyes, av yvoval o €TL’
TIAN. ti dai; TO TOAD Tdpiyos ovK EeipnKa To.
TIAA, pa Av’, od6€ tov tupov ye TOV yAwpor,
TaNay, 559
a a oe eur n / /
Ov OUTOS avTOis Tols TaXdpos KaTHO OLED.
7 ’ > \ b / bd] /
TIAN. xamecr’ émrevdn Ttapyvpiov émpattouny,.
bf BA ey / > na /
éBrevreyv els pe Sptuv, KapuKaTo ye.
EA. tovtov mavu Ttobpyov, ovTos 6 TpoTros

L

551 For Il\addvy (RB al.) some Mss. prefix érépa mavdoxevrpia.

TAaVTAYOD.

— 554 dvnuiwBoriata al. —> || rdv0’ hu.. Van Leeuwen.
(The true spelling appears to be -Bed-) BBT dvayvavat

MSS. : corr. Elmsley. — 560 R. has lost Tots after avrots

30 | BATPAXOI 564—581

TIAA. cat ro Eidos y éomato, paiverOar Coney.
BA. vy Ala, rarawva.
ITAA. vo o€ Setcdoa yé Tov 565
él tTHy KaTndud evOds averrndjoapev’
08 @yeT é&dEas ye Tas Widbovs AaBov.
EA. «alt tovto tovTov Tovpyov. adn éyphv
Te pap.
TIAN. 0: 6% KaddXecov Tov mpootatny Kréwva
pLor—
Al. ot 8 wouy’, édvrrep éritiyns, TrrépBorov—
TIAN. & avrov émitpivroper.
@ papa papvé, 571
¢ eQ/ YA / \ /
@s noéws av cov ALO@ Tos youdious
KOTTTOLML GV, ols pov KaTéharyes TA opTia.
Al. éyw &€ y és TO Badpabpov éuBarouw ce.
TIAN. éya dé Tov Adpuyy av ExTéwotps GoD 575
Spéravov aBovao’, @ Tas YoOrKas KaTé-
oTACAs.
arn ei’ ert Tov Krav’, 05 avTov THmeEpov
€EKTNVLELTAL TAUTA TPoTKANOUMEVOS.
Al. Kdxicr aroXoipnv, RavOlav ei pr diro.
EA. 010 oda Tov vodv: made Trade TOD NOYov. 580
ovK av yevotunv Hpakdijs av.
565 The speaker of vi Ala, rd\ava differs in MSS. || deodoa
RV: deicaca al.: va dé 6H deicavré ov Meineke. —>
570 Mss. give this speech to ravdoxedrpia B’: corr. Ed. >
571 pdpvyé al. Cf. 259 crit. note 574 éyw 5 av Elmsley
needlessly. —> The line is usually given to ILANA or ITAAO
with €uBdroul oe: corr. Ed. —> 575 éxréuouul cov MSS. :
Accentuation Ed. 576 rovs kd\uxas RV: ras al. There
is no K6\é; the corruption arose from the substitution of Kéd-

Nikas for xéAckas and adaptation of the article. Corr. Schaefer
581 ai Hirschig for the second dy, wrongly, —>

581—596 BATPAXOI 31

Al. pnodapos,
9 Lael
® Fav0tsvov.
an 3 > /
EIA. kal Twas dv AdXKkpynvns éyo
e\ / a) e/ \ x 4
vios yevoimnv, SovrOS apa Kai OvnTos OV;
Jem a / \ a
AI. ofS 085 OTe Ovupot, Kat Stxaiws adto Spas:
xX BA / b] xX > / /
KAV El LE TUTTTOLS, OUK AV AVTELTTOLLLL TOL. 585
n a » By
GXN jv ce TOU RovTrod ToT adéX@pat
/
“povov,
/ eee ¢ / \ 7
mpoppifos avTos, yu, Ta TraLoia,
f > ae. / b) / oe /
KAKLOT GTrONOLmNY, KapYXEdNnMWOS 0 yawn.
FA. déyouar Tov Gpxov, Kat) TovToLs AawBave
— ® 5 .

XOPOS
vov ody épyov got, érret6y) 590

Thv oTOAnVY ElANhas, tvirEep

eiyes, €€ apxyhs manu,

> /

avaveafew <.. >

kal Brétrewv adOis TO Sewor,

Tov Geod pewynuévov

Otep eixalers oceavTor.

? \ an c t

et O€ Tapadnp@v adowcet

KakBarets te padOaxor, 595

5 54 / b) > /

avéis aipecPai a avayKn

‘oTa TahW Ta oTPOmaTa.

582 Meineke ejects & (i.e. RavOtdiov). —> || adxujvns Meineke ;

ef. 531 crit. note 591 The comma should not be
placed after €& dpyjjs. —> 592 dvavedgvew RV: dvavedgew

cavrov del al. (a feeble completion of the metre). dv. <mpds TO
goBapév> Meineke from schol. More probably another infin. in

-agew has been lost. —> 595 KaxkBddys V: cal Barns R:
kal Badeis al.: corr. Hermann 596 ora Dawes. “orl V;

om. BR: Tis al,

o2 | BATPAXOI 597-611

KA. Ov KAKOS, @VOPES, TapawelrT ,
> \ > \ / “>
ANNA KAVTOS TUYYaVW TAVT
apts TvvvoOvpEVos.

OTL péev odv, VY YpNOTOV H TH,
TavT apatpetoOar maddy TeEl- 600
/ / > 5 Om NS e/
paceTat fe ev 010 OTL.
aAr ouws eyo trapéEw
’ a na
pavTov avopetoy TO Awa
3

kal Brérovt optyavor.
dely 6 Eoixev, @S aKkovm

n / \ \ /
Ths Ovpas Kal 6 odor.

AIAKOS. AIONTSOS. BANOIAD

AIA. Euvdcire tayéws Tovtovt Tov KUVOKAOTrOY, 605
oa n , ey ee
iva 6@ dixnv: avutetov. Al. Hee To

KAKOV.

BA 5) > / \ /,

EA. ovx és Kopakas pn) TpootTov.

AIA. Elev, Kal axel;
0 Auttras yo YKeBrAvas yo Lapdoxas
yopete Seupl Kal payerbe TovT@l.
oR eee \ na / iy
eit ovyl Sewa TavTa, TUTTEW ToVTOVi 610
KrérrrovtTa mpos TadrOTpLa; AI... warn

vTeppua.
600 «@ 0/5’ éyw Velsen. —> 606 dvverov MSS., incorrectly
for Attic 607 ovx és Képaxas; ph mpdcvrov MSS. : evK és

Képakas ; o0 uy mpdotrov ; Elmsley (subsequently omitting kal).
The only change required is in the punctuation (Ed.). — || _
paxer (udxn) MSS.: payed Dind. + 608 Xrapidkas V
(cf. Thue. 2. 101) 610 sqq. The usual distribution is AI.
elr’ ovxt.. TadddAdTpia; ATA. warrN’ dreppvd. AL, oxérALa,
K.T,A, ; corr, Ed, —> 3 |

612—632

Al.
BA.

BATPAXOI | 33

/ \ 5 \ ,
oxéTM\ia pev ovv Kal Sed.
\ \ \ ,
Kat pnv vn Lia,
/ >) 5 an 3 /
et Ta@ToT nAOov devp, EOéA\w TEOvnKEeVat,
x 9 n n 4 / \ /
) Kea Tov cov abvoy TL Kal TPLYXOS.
/ an a /
Kal oOb TONTW TPayLa yEevyvaltoyv Travu* 615
/ \ \ a \ /
Bacdavife yap Tov taida Tovtovi NaBor,
bY / Jemmn 4 5) fa) b) OE /
Kav TwoTé pw E€AnS AOLKODYT, aTrOKTELVOY
> »
jb ayov.

AIA. cal 1as Bacavico;

BA. .

Al.

Al.

Dind.

/ 5 /
TAVTA TPOTTOV, EV KALMAKL
dyoas, Kpe“doas, voTpixyids pactiyor,
\/ :
dépar, 619
n 4 $59 \ en A > /
aoTpeBrov, Ett 0 és Tas plvas d€0s éyyxéwr,
/ \
mrivOous émitiOeis, TWavTa TaAXNA, TAHV
Tpdow
\ / ‘a \ / /
pn) TUTTE TOUTOY wNde YyNTEiM VEw.
we / 4 / /
dixavos 0 NOyos' Kav TL TNPOTwW YE TOL
A / / /

Tov Talda TUTTMV, TAapYUpLOV TOL KEioETAL.
\ a >» »+ > ec \ / > 5)
pn Onr euowy. ovTw dé Bacal atra-

yayov. ; : 625
rn f + ee \ /
avTov pev ovv, va col KaT OPParpovs Ey.

\ \ / / f n
KaTabov ov Ta oKEVN TAYEWS, YOTTWS EpEls
F nA \ an 5
évravla pnbdev r>reddos.
St
aryopev@ Tut
> \ \ / > / 7 , b>] be /
éue pn Bacavilew abdvatov dvT* Ee dé wn,
‘\ \ fal / \ /
avtos ceavtov aitia. AIA. réyets de Ti;
/ /
aGdvatos eivai dynut Atovucos Axos, 631
lal al n 9 /
tovtov 66 dovAdov. AIA. tavr axKovets;

618 Bacavlow V: Bacavifw R al. 626 co. MSS.: col

D

AIA,

EA.

AIA.

BLA.
AIA,

AIA.
AIA.
AIA,
AIA.

BA.
AIA,

BATPAXOI 632-650

De ea /
bie oe
\ d va / b /
Kal ToA\U ye MaAAOY EOTL PaATTIY@TEOS:
/
eitrep Oeos yap éotwv, ovK aicOnoerat.
, Bese 5 ,
TL ONT, €mrEldn Kal ov dys eivar Oeos, 635
\ /
ov Kal ov TUTTEL TAS ioas TAN YAS epol;
/ ¢€ / > / xX a y
diKaLos 0 horyos yaToTEpoy avy vev ions
/ xX e /
KNAVTAVTA TPOTEPOV 7) TpoTLLnoaVTAa TL
/ 5 a n \ f
TUTTOMEVOV, ElVaL TOUTOV HYyoU p41) Oeor.
> 4 ef > 5S \ rd > /
ovK éo8 Grrws ovK ci aU yevvaoas avnp* 640
a \ > \ OL > 4 é /
Ym@pels yap els TO Sikatov. aTrodvedOe Sy.
an > a \ /
TOS ovv Bacaviels vo dLKalas ;
e /
: | padios:
\ \ \ e /
TANYHY Tapa TwWANYHV EKaTeEpov.
‘al f
KAXWS EYELS.
bd / Looms | / yA A /
idov. HA. oKores vuy nv pe vToKWwn-
: 3
cavtT tons.
’ Laer
non watakd o. BA. od pa A’ ovp
éuolt doxKels.
> 3S 9
GAN ¢iu émt Tovdl Kal tratdéo. Al.
/
THVLKA 5 646
\ \ >] / > A
kat on ~watata. Al. Kdta mas ovK
ET TApoD ;
YK OLOa* dt 8 atOus a L
ove oda: Tovdl 6 avbus amomerpdcopas.
uA an
OUKOUY avUGELS TL; aTTaTal.
/ nn
TL aTTaTai;
fal ’ /
av mouynOns ;

645 od’ éuol doxe’s MSS.: Soxe? (or Sox) Bentley (giving
the words to Aeacus): ov« éuol dSoxets Bothe. || odv for ovd’ is
simplest (Ed.). —> (otherwise od ua Al’, ok, éuol Soxety might
be suggested) 649 advices larrara ti larrarat (or the
like) mss.: corr. Thiersch. —>

BATPAXOI 35

ov pa Al’, arr édpovtica 650
e ‘yp ¢ / b 4 /
o700 HpakrXera trav Aropeiois yiryverac.
4 e / a / /
avOpwiros tepos. Sevdpo maduv Badiotéov.
iov tov. AIA. ti éorw; Al. imméas

Opa. pees
te Onra Kkrades; Al. Kpoupiav oodpai-
vopat.
émret mpotimas y ouvdév. Al. ovdév poe
pede. 655

fe = SPE \ erie pia.
Baétoréov tap éotiv émt tovdt made.
— : ;
oijmot. AIA. ti ote; BA. tHv adxav-
Pav é&ene. |

Ti TO mpayya Tovti; dedpo maduy
Badicréov.

"AqmoXrXov—és mov Afrov H Ilvéor
EV ELS.

HAYNoEV* OVK HKOVaAS;

Al. ouK éywry, émrel 660
| lawBov ‘Inm@vaxtos avemimyvynoKopny.
EIA. ovdéey Troeis yap: adda Tas Nayovas o7rddeL.
AIA. pa tov A’, GAN Hdn Tapexe THY yaoTépa.
AI. Ilocesdov, BA. Hrynoév Tos.
AI. 6s Alyaiov <rep> mrpavas } yrav-
KaS pmédets 665
anos év BévOecuv.
AIA. ov tov wa Thy Anuntpa Stvapai tw pabeiv
omOTEpos Uuav éote Beds. GAN elovToV:
0 SeomroTns yap avTos buds yvooetar 670
652 dv@pwros Dind. —> 665 <mept> add. Ed. -> ||

mpwvos Scaliger

36 -« BATPAXOI epee

yn Deppédatl’, dt dvte Kaxeivw Deo.
Al. 6p0ds Aéyeus: éBovrAouny & av TodTO ce
TpOTepov Tonoal, mpl ewe Tas TWANYAs
-AaBerv.

XOPO > 3 .

Moica yopav iepav émiBnOs Kai EXO” eri
Tépiruv aoldas éuas, 675

TOV TOA) OrYfouevn NadY dyXoV, oF codtiat

pupiar KaOnvrat

dirotimotepat Kreopavtos, éb ov 7
yeiheow appirdross

Sewvov émuBpéuerat 7 680

Spyxca VENLO@V

ért BapBapov éComevyn wétandov:

puter © émikXavTov andoviov voor,
Ws amconeirau,

Kav loas YEVOU TOL. : 685

} TOV iepov xopov Sikatoy éoTe ypnora ™

TONEL
Evutrapaweiv cal didacKew. mpOTov ovv
nuiv SoKEl .
éEuc@oat Tovs toditas Kadedely Ta
Seluara.
7 e / /
Kel TLS Huapte oparels tL Ppvviyou tra-
Aalicpacw,
671 Peprépar’ R: Deppéar’ V. —> 673 vojnou V attrac-
tively. The confusion is found elsewhere ; cf. 1373 || mpiv éueé

R: mplv ye cett. 678 diroTiworépa Van Leeuwen 683
Keraptger R: xedade? V al. || pygee Dind. > |

a

690-703 BATPAXOI 37

> / \ A a > ca) /

eyyevécbar dnp ypivat Tots OAL Oovow ToTE
na an /

aitiav ékOeiot N0TaL TAS TpOTEpoY apap-

Tias. 691
5 9 +” / nm Y Be. 5 9 5 aA
€lT ATLLOV Ppt VY pPNVat pondév ely €V TH
TONEL.

Kal yap aio pov €oTL TOUS meV vavpayy-
cavTas play :
\ 5 4
kat IIlXatasas evOvs elvat KaVvTte SovA@Y

SeamoTas—
Kovoe TavT eyay yom’ av a OU KaXOS
packew eXEW, 695
> \ > \ fa) by4 b]
aXN éeTawa* pova yap abta vovv éyovT
édpadcaTte—
\ \ / 31 oN Cs A LA ete |
Mpos O€ TOUTOLS ELKOS Upas, ol wel UE@V
TOANa 62)
yoi TaTépes evaupaynoay Kal TpoonKovow
ryéver,
\ / / a v
TV 8=lav §=6TavTny § Trapetvar Evppopav
alTOUMEVOLS.
3 \ n > fal » ey = /
ana THS Opyns avevtes, W TopwMTAToL
pice, 700
Tavtas avOpwmous éExovTes ouyyeveis KTN-
capella |
KaTLTimous Kal modrjiTas, Gots ap
Evyvavpayy.
b] \ a 3 D] a ’ /
ee 6€ TavT dyKwoomed0a KaTrOTEpVUVOU-
pela,
690 éxyevéc Oa al, 691 éxdio. Herwerden 699 airov-
pévous R (first hand): -ous cett. and R corrected. => 703

Tatr’ RV: rTot7’ al.

38 BATPAXOI 704—722

\ / \ A Bi ,
THY TOMY KAL TAVT EYXOVTES KUMATOYV
év ayKkanrats,

3 / / bp] 8) 8) n >
VaoTéep~ xXpovm ToT avOis ev poveiv ov
de :

dofopev. YW 705
\ a x
e O éya opOos deity Biov avépos 7
/ f b]
TpoTrov dots ET oipwkerat,
> \ +993 ¢€ / & e na
ov modvv ovd oO TiOnKos ovTos oO voY
EVOXAOY;
¢ /
Kyeuyévns 0 puKxpos,
£ / \ id / a
0 Tovnpotatos BaXaveds oTrocoL KpPaTovGL
/
KUKNOLTEppov 710
if /
arevdoXiTpov Kovias
~ Pf a
Kat Kiporias yas, |
/ \ >
xpovov évdvatpiyrer: tOwy 5é Tad OvK .
> \ +” ’ ~ / > a
elpnvikos €00, wa pn Tote Katrobv0n
peOvov a- 715
/ 4 ;
vev EvUrXov Badifov. 3}
> a / /
jod\AdKis y nu dokev 1 Tors
/
Tetrov0évat :
> Somes" 54 a) la) \ /
TAUTOV &$ TE TOV TOALT@Y TOUS KaXOUS
\
te Kaya0ous
f a / \
és Te Tapyatoy voyicpua Kal TO KaLVOV

Npua tov. 720
+ J 95 oY
OUTE yap TOUTOLOLY ova ov KEKLBONAEv-
MEVOLS,
> \ / e / e n ‘
GQXNa KaAXNioTOLS aTavTMY, ws doKél,
VOMLELATOV,
704 Others punctuate Karoceuvuvovpeba | rhv modu, Kal Tadr’
> 705 Qu. ot5’ oper ? 711 wevdovirpov al. (the
later and less Attic form) 714 e/dws Mss. : corr. Bentley

719 rov’s Kaxovs re Kayabovs a few late copies. —>

723-737

’

BATPAXOI 39

Kal povors op0as KoTeice Kal Kexwdwvi-
o MEVOLS

éy te Tois “EXAnoe cal tois BapBdpoor
TAVTAYOU,

xpowed OUOEV, AANA TOVTOLS Tots 7 Oe
Xarniors ; 725

yOés TE Kal mrp@NV KoTELoL TO KaKicT@
KOMMLaTL,

Tov tokutav @ ods pev topev edyevets
Kab CRP POOS

avépas dvTas Kal OuKatous Kal ekogs TE
naryabovs,

Kal Tpadévtas év TadaioTpais Kal yopois
Kal [ovolKkn,

mpovoerodpev, Tois d& yadrkols kal Eévous

/
Kal Truppiats 730
. “ fal >
Kat Tovnpois KaK Tovnpav els aTravTa
ypopweba
e / > / ®@ e /
voTaToLs adiypévotowv, olow % mToOdLS
\ n
Tpo TOU

ovde happakoiow eikn padias éypyncaT a
pe n padlos éxpycar’ av.

> \ \ a a /

AXAa Kat VUV, wVOnToL, peTaParorTes

/

TOUS TpoTroUS,

xpnole Tos ypnotoiow adOus: Kal KaTop-
dacact yap 735
edoyor" Kav TL opanijr , é& akiov yor
TOU Evhou,

WY TL Kal TacyNTe, Taoyewv Tois coors
OOKNCETE.

40 : BATPAXOI 938-757

AIAKOS, ZAN@IAS. XOPOS MYSTON

AIA. vy tov Aia tov coripa, yevvddas avnp
0 SeomoTNS Gov.

EA. TOS yap ovxXl yevvddas ; 739
AIA. 70 8 un wardkai o eEedeyyOévt avtiKpus,
c/ n xX ” 5 /

btt SovAOS Ov Edhackes civat deorroTNs.
pom wv / 4
EA. @pwke pevtav.
AIA. TOUTO pevToL SovALKOV
evOvs TemonKas, OTEep ey@ yalpw TroL@D.
BA. Yaipels, iKETEVO ;
ee Marr erromtevery SoK@, 745
bray Katapdcwpar AGOpa TO SeorrdTy.
EA. i &8& rovOopvfwv, vik dv mAnyas NaBov
Todnas amins Ovpave; AIA. Kal tool?

HOOMAL.
EA. ti d& wod\a mpdtror ;
ATA. as pa A’ ovdev oid’ eyo.

EA. opoywe Zed: kat mapaxovor decmotay 750
art av Aad@or; ATA. parra mreiy 7
paivopas.
BA. @ Doi "AmodXov, éuBaré por THv deEvav,
Kal 00S KUOaL, KaUTOS KUGOV, Kal LoL
ppacor, 755
\ x A Ae b ¢ /
mpos Atos, 0s nuivy éoTW OpmopacTtiyias—
tis ovToS ovvdov éott BopuBos Kal Bor
745 see 103 crit. note 746 \d0pa R: Ad@pa V cf. Meister-
hans’, p. 114. Inf. 1168 RV have Ad@pq 748 kai 740’al. —>

751 drav V al. for dtr’ dy 757 cai RV: x7 cett., but
OdpuBos kai Bor form one notion and 6 Ao.dopnopdés another

758-776 BATPAXOI Al

yo Rovdopnopos; ALA, Aioyvrov xKedpt-

TLOov.
ad. mpayma wpadypa péya KeKlyntar
pméeya 759

év Tois vekpoiou Kal oTdols TOA Tavv.
EA. é« Tov; |
AIA. vomos tis évOad éott Keipevos,
amo TOV TeXVOV, doar peydrat Kai Seksat,
Tov dpiotoy dvTa THY EavTOD ovYTéEyVoV
citnow avtTov év mpuvtaveiw NapBavew
Opovov te tov Ildovtwvos éf%s, EVA.
pavOavo. 765
AIA. &ws adixotto tiv téyvnv copwtepos
érepos TIs AVTOU: TOTE Sé TapaywpeEtV det.
EA. ci dnta tovtt tePopvBnxev Aioydaror ;
AIA. éxeivos eiye Tov Tpaywdixov Opovor,
@s ay Kpatiatos THY Téxvnyv. EA. vovi
dé Tis ; 770
AIA, dre 8) Katnr@ EKdpiridns, éredeixvuto
Tols AwTodUTaLs Kal Toict PBadXavTio-
TOMOLS :
(Kal Tolot Tatparoiaot Kal Tovrywpvxors,
Strep gor év “Avdov wAHG0s, oi 8 axpow-

EVOL
la) > lal \ aA \
TOV avTihoyiwv Kal AVYlOMo@V Kal
oTpopav 775

/ t
UTepewavyncayv, Kavoylcay copwTaTor’

759 V accidentally omits the first uéya: some other Mss.
have yap or opddpa in its place 772 BadrAavtiorduos R:
Baravr- V. Mss. cannot be trusted with -AX- or -oo-, but Simonid.
Jr. 181 shows that at least the first syllable was long

- 42

BLA.
AIA.

EIA.

BATPAXOL 777-798

Katert éerrapbels avTerdBeto Tod Opovov,

ivy Aioytros xabijoto. EA. kod éBan-
AETO; |

pa At, aX’ oO oijjos realion Kplow Toetv

omoTepos ein THY Téeyvny copwTepos. 780

0 TOV Tavoupyor ; AIA. wy Av’,
oupdaviov xy’ bcov. !

per Aicytrov 8 ovx Aoav érepor
obppaxor 3

odiyov TO xpnoTov éoTiv, waTrep évOdbe.

ti On8 o dotTav Spar mapacweyaterat ;

ayava Toleiy avTixa para Kal Kpiow 785

KaNEYXOV AVTOV THS TéxVNS.
. cs y ‘

KATELTA TOS

\ / a /
cv Kal Lohokwréns avtexaBero Tod Opcvov;
: \ 4) b] 5) an 5) 3 y \
pa Ai ove eéxetvos, ANN ExuvoE eV

— Atoydnor-,
bre 81 Karine, xdveBade tiv deEvdy,
KAKELVOS T bmexopnoev avT@ Tov Opovov: 790
vuvi & euedrev, ws eon Krevdnuidys,
Epedpos Kabedeicbar Kav pev Aicydros
KpaTn,
éewv Kata yowpav: et Sé pH, mept THs
TEYVNS
Siaryovieiad ehacke mpos y Evperidny.
TO xphu ap’ cara 5
va Ai, bdiryov botepov. 795
cavtav0a 61 Ta Sewa KivnOnoeTat.
Kal yap TadavT@ povoikyn oTabunoeTat.
ti 6€; petaywynoovot THY Tpaywdtar;

799-818

BATPAXOI i

/ / \ ; lal

Kal Kavovas é£oicoveot Kal THYELS eT OV
= / jon /
Kal wraiowa EvurTucTa EA. rrivbev-

govot yap; 800
Kal Stapétpovs Kal ofhvas. o yap
Evpurioys © |

kat étros Bacavietv sai TAS Tpay@oias.
% Tou Bapéws ola tov Atoyvrov hépew.
éBrewe yodv tauvpndov éyKvwas
KATO. | |
kpwel d€ 6n Tis TadTa; ; pees
TOUT my Biobekop * 805.
cohav yap avdpav atropiay nipicKétny.
ovte yap “AOnvaioicr cvvéBaw Aioxdros,
Torrovs laws evopsle Tovs Tovrywpvyous:
AHpov Te TAAN HyelTo Tov yv@var Trépt
dices TonTav: eita TO OM SeoTOTH 810
érétpewav, OTL THs Téxvns epwrerpos Fv.
GNX’ eiciwopev: @s OTav y of SeamoTat
éorrovddKwot, Kratpal huiv yiyveras.

HM.a % ov Sdewvov épiBpeuétas ydrov évdobev

éfeu, 814
nvik av o€vXaXov Trapidy OxnyovTos dd0vTa
avtTuTéyvou’ Tote 7 pavias bd Sewnhs
Oupata otTpoBHceTaL,

HM. éorac 8 inmorodwv te Roywv Kopv-

/ /
Paiora veiKn,

800 cvumrvu«cra Suid. and afew late Mss.: cUumrucka R: Evra

Vi: &urnkra al. —> 804 yoiv V: 5 oty R: éBrewer ody
al. 806 cipicxérny Mss. Meisterhans*, p. 136 814 For
the distribution see —> 815 wepldn R: rapidn V. >

818 vWirdgpov al. || ujxy (for veixn) Salmasius

a4

BATPAXOI 819-836

/ / / /
ocyiwoardpov te tapakovia, cpidevpaTa
T épyor, 819
\ b) / / b] \
PwrTos auvvopevou ppevoTtéKtovos avdpos
pnuad immoBdpova.

HM.a dpi€as 8 avtoxopov rAogids Naciavyeva

VaiTay,
dewvov émicxivioy Evvayov Bpvxopevos
NOEL
phuata youdhorayh, mivakndov atoomav
ynyever hvonpate* 825

HM.8 &Oev 8) oropatoupyos érav ‘Baddle

oTpla oN
yrAaoo avedtcoopuevn, POovepors Kivotca
yadwvous,
pijpara Savopméevn KaTaneT Tohono et
TAEVLOVOY TONVY ToOVOD.

ie he a AIONTSO%. “AISXTAOS.

ET.

Al.

ET.

XOPOS>

> XN l4 an / : \ J
ovK av peOeinv tov Opovov, un vovOErTer.
/ \ 5S / / \ /
KpElTT OV yap Eivat pny TOVTOV THY TEXVND.
b] 4 / aA ’ / \ an
Aioxyure, Ti oiyads; atobaver yap Tov

/

Noyou. 832 -
n lal ‘A
ATOCELVUVELTAL TP@TOV, ATEN EKATTOTE

a / /
év tals tpay@odiatow éTepaTevero.

/ 43 n \ / / /
Samo avdpav, uy meyada lav éye.
5 nm \ y nae
éy@oa TOUTOV Kab OvET KEL MWAL TanNat, 836

v So

819 oxwdSadhduwv RV. Moeris gives x as Attic, x as Hellenic.

—

830 ucbeiuny V al. : webeliny R 833 drep V

837—858° BATPAXOI 45

avOpwrov aypiotrowov avOadocTopov
éyovt aydduvov axpates AOvpwrov cropma,
aTrEp\ANdANTOV KouTropAaKeNoppyHmova.
AIX. aGAnOes, ® Tai Tis dpovpaias Oeod; 840
av 6 “we TadT, @ oTTw@pUALODVANEKTAONH
Kal TTWYOTTOLE Kal paKLoouppaTrTdoy ;
GAN ov TL yalpwv ait épeis.
Ak.. Tad Aicx dre,
| Kal mH Tpos Opynv omrrdayxva Oep-
LHVNS KOTO. |
AIS. ov dfta, rpiv y av rodTov arodnve cadas
TOV Xw@XoTrOLOV, olos wv Opacvverar. 846
Al. dpv dpva pérava traides éFevéyxate
Tugdos yap éxBaivew tapacKevaverat.
AIxy. @ Kpnrixas pey TUNNEYOV por@dias, 849
‘ya pous 8’ dvocious eiadépav els THY TEXV NY,
Al. _emiaxes ovUTOS, @ TohuripnT Aloxdne.
ato Tov yaratov 8, ® tovnp Evperidn,
dvaye oeavTov éxTrodwy, eb cwdpovels,
iva pn Kehadaiw Tov KpoTtadov cov phyate
Oevav tr opyis exxen Tov Tnredov: 855
ov 6€ pn pos dopyny, loge GNA
Tpaovers
heyy, Edéyyou: Aowdopeia as & ob T peTrel
avdpas Tontas woTep apToT@ALoas.

838 aOvpwrov R Suid.: dr’dwrov V cett. 841 od Oh euée
Meineke 843 rad’ V: rato’ R 847 wédawvay V al.:
véhava R (with at least better metre) 853 dvaye R:
dave cett. The sense referre (pedem) is somewhat preferable

855 Oévwv R: Oeivwy al. : corr. Bloomfield 857 mpéres
RV: 6éms al. (perhaps from some unconscious reminiscence)

46

ET.

Al.
AI>.

AIS.

Al,

XO.

BATPAXOI _ 859-881

od 8 eb0ds Sorep mpivos eumrpnabels Boa
S p mptvos éumpnabets Boas.
c/ / 2S By 4 > > /
ETOLMOS Ely eywryE, KOUK dvadvopar, 860
OadKVEW daxver Pat mporepos, el TOUT@ Soke,
Tarn, Ta pern, Ta vevpa Tis rpaypdias,
kat vy Aia tov IIndéa ye xat tov Aionrov
kai Tov Medéaypov, care wara Tov THr\edov.
av Sé 61) Ti Bovdever Troeiv; Aéy’, Aioydre.
/
éBovrounv pev ovK épiverw évOdde* 866
> b] 54 / > id \ A .
oux €& icov yap éotw ayov vor. Al.
TL Oat ;
c/ € / / /
OTL 1) Tonats ovxl auvTéOynKée por,

/ \ / ef a /
TouTw dé cuvtébynKev, wal EEL Neyer
dpws & érresdn cor Soxel, Spav Tadra xP”- 870
(Oc vuv AuBavwrov Seipo Tes Kal Top SoTa,
otras av evEwpas TPO TOY codicuaTov
ayava Kpivar’ TOVOE povovewrara:

‘tpeis dé rats Movoas Tt peehos UTaCaTE.

@ Acds! épvéa TmapOevot ayval 875

Modcat; NerTodyous EvveTas ppévas al
_xaboparte

avopiiv yvopoTuTa@v, étav eis Ep o&vpe-
pluvots

EMwot sTpEeBNotat Taraicpacty avTtXo-
ryouvTes,

EXOer érrovropevae Svvapev

SewvoTatow otopatow tTopicacba — 880

pyyata Kal Tapatpiopat émav.

863 ye V: re Ral. 865 od O¢ 6H Ti one MS.: 67 om. R:
ri dal ob V (attempting to cure the metre of od dé 7/) 867
ayov RV: ayov Dind. 868 cuvTébynk’ éuot Bothe, but the
emphasis is on the verb

883—g00 BATP AXOI AT

viv yap ayov codias o péyas yopet
| mpos épryov On.
AI. evyecbe 8) Kal ohm Tt, Tpiv Tan
Neveu. 885
AIS. Anyunrep 4 Opévaca tiv éunv dpéva,
éival be TOV COV agvov puoTn pion.
Al. = émrides AaBaov 57 Kat ov ALBaverTov.
ET. | KaNOS*
Etepor yap eiaw olow evyouat Oeois.
AJ. duo tuvés cov, Koppa Kxawov; ET. kal
J para. 890
Al. i@c vuv mpooevxou TOLO LW en at Qeots.
ET. aiOyjp, éuov Booxnua, Kal yA@TTNS TTpO-
Hurts
Kab Fvveot Kal MUKTHPES or ppaytTnpiot,
opFas we eheyxew o Ov av atTTopat hoyov.

XO. «Kai Hayy nels em iOupodpev | 895
Tapa copoiv avdpotpv éxodoat Tiva oryov
€UpLeXELav ; |

émite, dSatav odov.

yAoooa pev yap nypiwrat,

Aja & ovK AtorAmov apdoir,

ovd axivnto. ppéves. :

Tpocdoxay ovv eikos éote 900
883 dde uéyas RV: corr. Hermann 888 The text is that

of vulg.: V adds \aBwy again after Baywrdv: R has kcal dy
ov NiBavwrdv AaBwv. Hence érides \uBaywrdy cai od 6H AaBwv

Fritzsche, with much probability 889 Geots R al.: Geol
V.— 890 covR: col V: coal.: (cod is slightly inferior)

891 67) RV: vuy al. Cf. 372 crit. note 896 For the
punctuation in the text see —> 898 yAdoou MSS. : yA@TTa

Dind., but the passage is parody

48

Al,

RT.

BATPAXOI 961-913 -

Tov pev aoreiov Te réEELY

Kal KaTEppLVn-Eevor,

Tov © dvaocTevT avToTpéuvots

Tois AOyotouw

éuTETOVTAa TUTKEOaY TOA-

ras aduwdnOpas érrav. 904

XOPO>. ETPIIIIAH>. AIONTSOX.

AISXTAOS

>
aXX ws TayLoTAa yp éyewV: OvT@ O
Omws €pelTov
> a \ | Pee ’ / / fs)? @) x
aoTela Kal pnt etkovas pn ot av
A 7
aNXOS ELTTOL.
\
Kal pny é“avTov pév ye, THY TolnowW
/
ol0S bps,
b] an c / / nr \
éy Toiaw vaTdatos dpdow, TovToy 6é
ile 4
TpaT érEvEo,
as nv aratov Kat dhévak, oloits te Tovs
Oeatas
\
éEnrata, pwpovs AaBov trapa Ppuviyw
/
TpagevTas. 910
/ we \ c AA a
TpoTicTa ev yap é&va Tw av Kabicer
b] /
eyxaduwas,
5 / /
Aycan tw % NioBnv, TO tTpoocwrrov
ov! SELKVUS,
™poaxnpa THs Tpaywdias, ypvtovras oude
TOUT *

901 Adéac R: AdEav Val.: Afar is good in itself, but the
fut. (svcxedav) follows 911 éva Tid Kdbicey R: Eva tiv’
éxdOicevy V: corr. Bekker, —>

BATPAXOI | 49

914-927 —
AI. pa tov At’ ov one.
ET. o &é Xopos y mpetdoev oppadovs av
MENOV epebijs Téttapas Evvey@s av: ot
& éciyov. 915
Al. éyo 8 éyarpov “tH ciwmy, Kat pe ToT
ereprey
ovy HTTOV ) VvoV Of NaXODdYTES.
ET. nALOLOS yap jaa,
cap
Al. KAPAVT@ S0Ka. TL Seradr Spec’ SBeiva;
ET. ot daraloveias, iv o Oeatrs mpoadoKay
Kadyro,
om00 % NioBy te POéyEerar> TO Spadpa
& dv Sunes. 920
Al. & wapmovnpos, of ap ébevaxiSounv bm
avuTov.
TL oxopdwa Kal duvadopets ;
ET. OTe avtov éferéyyo.
KaTeLT émreld2) TATA AnpHoEve Kal TO
dpaua
HON pea oln, pnyar’ dv Boeva S@dex’ eizrev,
oppus exovra Kal NOdous, Seiv’ arra jop-
popomd, 925
dyveta Tots Oewmévors. AIS. olwor rddas.
Al, CLOT A.
ET. cadés 8 adv eimev oddé & AI. pu)
mpte Tovs dddvTas.
919 Kafotro RV: xafijro al. : corr. Dobree. —> 926 dy-
vwra R: dyvwora schol. in R. A consistent distinction between

dyvwros and d&yvworos cannot be maintained (Jebb on Soph.
O. T. 361)

EH

50

ET.

Al.

BATPAXOI 928—945

GXN’ i) > Kapavdpous, yy) Tappovs, 7
‘Tc aoTidwy émovTas
5 Sa er bf
ypumTaéTous YaNKHnAAaTOUS Kal pnuad
/
iTToKpnuva,
fupBanetv ov peer DY.
v)) TOUS Deous, éy@ ryoov 930
On TOT ev paKp@ xpovm vuKtos Sunypv-
TVNTa
/ la!
tov Eov0ov immarextpvova fnTor,
Tis €oTuv Opvis.
lal n 9 3
onpetov év tais vavolv, wpabéotat,
everyeypamro.
éy@ O¢ Tov Pirokévov y’ ounv MP tes elval.
’
cir év Tpaymdias éyphy KadexTpvova
TOHT AL ; ; 935
» ] > \
av 0, @® Geotow ev Opé, Tod y éoTty
atT érroies ;
b] ¢ / \ /? »Q\ :
ody immanrextpvovas pa Ai ovdé tpay~
/ v4 /
ehagous, amep av,
av Toiot Taparerdopacw Tots Mnédzxois
ypadovow *
b) > e / \ A \
aAX ws wapéhaBov tHv Teyvnv Tapa
cod TO mpaTov evbus
oidovoay UTO Ko~TAacLaT@YV Kal pnuaTov
evra Pan, 940
loyvava pev TpPWTLTTOV avTIY Kal TO

Bapos adetrov

929 ypuraérous V al. : ypureairous R: ypuvraérovs editt., but

—> 930 pddu Hv RV: padcov Hv al., whence fpddiov Bentley.
But fd6c was taken for pad: (where ‘ =-ov) 935 mod 7

R: moiérr’ V: mot’ dtr’ al. —> ‘Qu. trot’ dp’ ?

942-955

Al>.
ET.

AI.
ET.
Al.

ET.
AI.

BATPAXOI 51

> / \ # \ /
ETUANLOLS KAL TEPLTTATOLS KAL TEVTALOLCL
AEevKOLS,
vrOV dLb0vs cT@pVALATOY, aTO BLBNIoV
NUAS? #
aTrnov *
eiT dvérpepov povediats Knyndicopovta
puryves
5 9 / ef , > 7a?
eéiT ovxX éANpovV O TL TUYOLMW, OVd
éuTec@v épupor, 945
> > ig \ J / \ /
GXN ovEl@v TPWTLOTA MEV MOL TO YyEéVOS
eit av evs
ToU dpamatos:
an \ 5 \ 42> x “\ nr
KpettTov yap Hv cor vn At 7) TO cavToDd.
eTeitT ato TOV TpweTwV éTa@V ovdeY
n /
Tapnk av apyov,
/ A
GX édeyey 4 yuvn Té pot yw SodAos
ovoey TTOV
> / > / > lal v7
yao SeoTroTNS %7 dicho xa pais ay:
eita OnTa 950
ov atrolaveiy ce TAT expr TOAPLGVTA 5 ;
fea TOV. ‘AmoAXo:
OnMmoKpaTiKoy yap avT edpav.
TOUTO pev éacov, @ TED.
3 \ / > / /
ov ool yap éoTt Wepitatos KaddAMoTA
Tept ye TovTov.
émetTa TovTovol Nareiv edidaka
: Pn Kayo.
/
ws mpiv didakar y wheres pécos dtappa-
ynvar. | 955

942 AevKois RV: ytxpots al. (a gloss to the diminutive)
948 map7K’ ay ovddv’ Blaydes. —>

52 , BATPAXOI 956-968

a / X24 n
ET. Aertav te Kavovwy écBoras éma@V Te

yoviac mous,
n ¢ n / / »”
voeiv, opav, .Evvievar, otpepev, ep
Texvacew,
KaX vTotoTretabat, Tepivoety amravta,
AIS. pnut Kayo.

ET. oixeia mpdypar cicdywv, ois ypapel’,
ois Evverper,
é& ov vy adv é&nreyyounv: Euvvedotes

\ &
yap OvToL 960
” ” \ / > ? >
nreyyov av pov THY TEYVNV*' AAN oOvVK
éXOMTONAKOUY

> \ la) a b] / 2 Q) 3g-/
ato Tov poveiy amoomdaas, ovd é&é-
\
TANTTOV AUTOUS
/ n /
Kvxvovs mov kat Méuvovas xwdmvo-
/
parapoT@Xovs.
\ / A 3
yvooe. 6€ TOvS TOvVTOV TE Kam“oD ¥
/ /
Exatépov pmadnras.
\ / / / b] e
Tovtovpevt Popyicros Meyaiveros @ o

Mavis, 965
cadtiyyokoyxuTnvadat capkacmoTiTvo-
KAT TAL,
oupot oé Knrevtropav te kal Onpapévns
6 Kop-rbos.

Al. Onpapévns; copds y avnp Kab Sevos
és Ta TavTa, | |

957 épav, rexvdsew MSS.: corr. Ed. —> 964 Kdpuod y
V: xdpyod R: xduot’s Dobree. —> 965 paris RV: warns
or pavys al. : udyvns one MS. and Suid. The accentuation is
dubious, but analogy in proper nouns points to Mdvys unless
the word is hy pocoristic abbreviation 967 ovpos R

969-992 BATPAXOI | 53

Os VY KaKkois Tou TepiTécn Kal THOLOV
Tapacth,
mTémtT@Key @&@ TOV KAKOV, OV YLOs,
arra Ketos. 970
ET. tosadta pévtovy@ povetv

‘

TOUTOLOW elonynoapny,
Aoytopov evOeis TH TEXVY
\ / 4 > BA a
Kal oKxéeyw, WoT On voEiv
amavtTa Kal dverdévar 975
/ ’ yA \ \ > SN
Ta T ANAA KAL TAS OLKLAS
a“ 3 \ a
oikely Apewov %) Tpo TOV,
a an eee
KaVaTKOTTEL, TOS TOUT EYEL;
a / f a Ieee Meret
jwov mot TOOL; Tis TOUT EéEdXaPeE;
/ an an
AI. vn tovs Oeovds, viv yoov “AOn- 980
vaioy amas Tis elolwv |
\
Kéxpaye Tpos TOvS oLKETAS
al MoD /
Cntet Te, TOU oTLY H KXUTPAa;
*
Tis THY KEharnV amedndoKev
n / \
THS patvidos; To TpvRALOV 985
\ \
TO Tepvatvov TEOYHKE pot’
fa) \ / \ /
Tov TO GKOpodoY TO yOLCLVOD ;
/ n
Tis THS EXdas TapéTpayer ;
/ 3 b] ,
téws 6 aPEeXTEepwTaToL
,
Keynvotes Mappaxv@or 990
Merntida: xabjvto. 4
/ / la}
XO. rade pév Aevocess, Paidip “Ayidred-

970 Kos Aristarchus in schol. 971 pévro ye poverty
_vulg.: wévrot cwopoveiv R: corr. Bothe 979 760’ Bentley
for tod7r’. —> 987 xdecwdy Mss.: corr. Lobeck 991

MeNridac Mss. : medurridac Fritzsche: Mednridac Gaisford. —>
(kat Med. of several mss. illustrates a common adscript)

54 ; BATPAXOI yeg=4000

av 6€ Ti, hépe, mpos tadtra ékess ;

pLovov Tras :
, > € \ ¢€ /
un o Oo Ovpos apiracas
€xTOS oloes TOV éXAOV" : 995
dewa yap KaTnyopnKev.
aXX bres, @ yevvaca,
\ \ > \ > f
1) Tpos Opyny avTire&ets,
GXAa gvoTelrAas, AKpoLot
/ n id / ;
NPWMEVOS TOLS LOTLOLS, 1000
eiTa paAddov padrrov akets,
Kat pvrdéers,
el A SW \ fa) n
NVikK AV TO TVEUvpLa ELOY
kal KabeotnKos NABs.
KOP. daar & patos Tov “EXAjvev Tupydécas
pymaTa ceuva
Kal KoopHnoas TpaytKoyv Ahpov, Oappav Tov
\ > /
Kpovvoyv adie. — 1005
4 n \ fa) / hd \
AT>. Ovpodpat pev TH Evvtvyia Kat jou Ta
3 a
oThayyY ayavaxTel,
’ \ mn a ee / vA \
€l Tpos ToUTov Set pe avTidéyetv? iva jor)
dackn 5 aropeiv pe, |
b] / / / WA \ /
aToKpwai mot, Tivos ovvexa ypr OavpdCeu
avopa jwonTny ; |
ET. dce&0rntos kal vovOecias, Ott BeXtiovs Te

TOLOUMEV
\ > , ’ n / :
tovs avOpw@movs év tais ToXeow. |
a tk! > \ /
AI. TOUT oOvV EL pn TeTrONnKaS, 1010

1001 des RV. Needless conjectures are eifes (Lenting),
olfeis (Bergk), géecs (Fritzsche) and dpeis. —> 1008 xpy
V: Oe R. The substitution is among the most frequent.
xph of the moral obligation is right

TOII—23 BATPAXOI 55

> bs b] fa) \ /
aXnN é€K XpNOTaV Kai yevvalwv poxOnpo-
Tatous amrédeEas,
ti tradety diyoeas akvos eivas ;
/ \ a Sa 7%
Al. TreOvavat’ pn TOvTOV épwTa.
> na
AIS. cxéae toivuy ofovs adtods map épuod
TapedéEato TP@TOY,
ef yevvaious Kal TeTpamnyels, Kal pr)

Siadpacvrodiras
pnd dryopaious poe KoBanrous, @oTrep VOY,
ponoe Tmavoupryous, : 1015

aXvAa mTvéovtas Sopuy Kal oyxas Kal
NevKOACHOUS Tpudareias :
\ / \ las \ ee

Kal wHAnKas Kal KYnpidas Kal Oupods
baiddes ants te

ET. kat on) Kopel TOUTL TO KaKOV* Kpavorroudy

ad pw emeTpinpet.
Al. «al ti ov dpdcas ottws adTovds yevvaious

é&edtdakas,
Aioyvre, réEov, pnd’ avOadas cepvuvo-
pevos yarérrawe. 1020
AIX. Spaéwa moncas “Apews peortov. Al.
eae TOLOD ;
AIS. tous €rt émri OnBas:

A 7 A v > \ > /
0 Oeacdmevos TAS av Tis avnp HpdcOn
| ddtos eivas.
Al. = rovti pév cot Kaxdv eipyactar’ OnBaiovs
yap TremonKas

_ 1012 poxPnpo’s R: pwoxOnporépous 7’ Ve Qu. pox Pnpots si
amédeEas ? 1018 émirpivers V 1019 kcal riod R:
ov Ti V || dvdpetous (for speraious) V

56

AIX.

Al.

AIS.

Al,

BATPAXOI 1024—36

b) / > \ ‘4 \ /
avoOpeloTépous els TOV TONELOV* Kal TOUTOU
y ovveKa TUTTOU.
ann wpiv ait é&fy acKelv, adr ovK
éril TouT éTpamecbe. 1025
eita Sudaéas Ilépcas peta todT érvOv-
pety e&edloaka
vikav ael Tovs avTiTaddous, KoTpHCAS
Epyov apiotop.
> / _aA Ce 7 \ /
éydpnv your, nvix’ +ijxovoat epi Aapeiov
TeOvewTos,
€ \ >] > \ \ A_3 egy 7
0 xopos 8 evOds TH Yelp’ wi cUyKpovoas
eitrev Lavol.
TavTa yap avdpas ypn TomTas aoxelp.
/ \ » Lite, > n
oKxewat yap amr apyns 1030
@s @dédimot TOY ToLNTaY ot yevvator
ryeyevny ra.
‘Opgevs pev yap Tereras 0 nyt Karedevee
hovev T atréyer Oat,
Movoaios 8 é€axéceits Te voowy Kal
¥. € A \
xpnopovs, “Halodos dé
na na / ¢
ys épyacias, KapTa@v wpas, apoTtovs: o
val /
5é Oetos “Opnpos
b] \ n \ \ / 4 \
aTOo TOU TLYLnY Kal KXEOS EoYEY TAY
Todd, Ste ypnat édidake, 1035
/ b \ ¢ / > la)
Takes apeTas oTAicels avdpov ;
\ \ > /
kat pnv ov Ilavtakrea ye

1024 évexa RV: elvexa or otvexa al. Cf. 189 crit. note
1026 rovs Ilépoas al. (unmetrical adscript). —> || edtdata MSS. :
corr. Bentley 1028 jvix’ AKovoa mepl RV: jvtk’ darn yen

mept al.:

quixka pdcu’ épdvn Aapelov Dind. Qu. fhvlka y’ fv

elkots arépe ? >

1037-49

BATPAXOI 57

€d(daFev Ouws TOV TKALOTATOY* TP@NV Your,
vik eTrEwTreD,

TO Kpadvos TpOToV TeptOnodpevos TOV
Aohov perr rriOjoew.

AIS. dA adddXous Tot ToAdovs ayabov’s, av
nv kat Adpayos hpws:
dbev nun dpnv amopakapevn moddas
apetas éroncer, 1040
Ilatpoxrwv, Tevxpwv Ovporeovtwv, iv
érraipoim avopa moXriTnv
avtextelvey avTov TovTOLS, OTOTaY Gad-
Tuyyos aKkovcn:
Gyr od pa At’ ov Paidpas érroiovy
Topvas ovde YOeveBoias,
>© 5S) b \ ¢ b) ea / >
ovd 010 ovdels HvTW €Ep@oav TwTOT
éroinaa yuvaika. 1044
ET. pa At’, od yap ériv ths ~Adpodirns
OvOEV OL.
AI>.. pndé y ézein.
GNXN él Tol col Kal Tos cola TOAN)
ToD ‘MeKalHTo,
e | gee d bY ® /
| @oTE ye KavTOY oe KaT ovv EBarev.
Al, vy tov Ala rovTo yé Tot 8y.
A ‘ > \ > / > / iN
a yap €s Tas adXAOoTpias ETrOELS, AUTOS
ToUTOLoW émANYNS.
ET. «al ti Brarrove’, & oxétdu avdpor,
\ , e \ /
THY TOAW apa OevéBovar ;
1037 rpa@nv RV: mrpwny cett. 1039 Kxdyalols RV (a good
instance of the tendency to insert xal for the idiom) 1045

ovde yap érjv V: ovdé yap fv R: od yap érjv vulg. —>
1046 ‘rixafoiro RV (from identity of pronunciation)

58

AIX.

ET.

ATS.

AI>.

ET.

BATPAXOI toso—62

4 / \ / 5) n > /
OTL Yyevvaias Kat yevvaiwy avdpav adoyous

avéTTELT as | 1050
Kovela Tel, aioyuvOeicas Sia Tods cos
Bedrcpopovras.
TOTEpoV 8 ove dvta doyov, TodTOV mept
THS Paidpas Euvelnna ;
pa A’, adrX dvT> adn aroxpirteww
Xph TO Tovnpov TOV ye TonTHD,
kal pn twapayew pnde SiddoKew. Tois
bev yap Tratdapiovcw
éort OuddoKanros doTis Ppdler, Tois jBdowv
d€ TonTat. 1055
wav on Set ypnoTa réyev Has.
Wy ovv av éeyns AveaBarrovs
Kal Haprasody 7 LL peryeOn, TouT éoTl
TO xpnera OLOdT KEL,
ov xpn ppalew dvOpareins ;
arn’, @ Kaxodarpor, avaykn
peyanin Pepe Kal dtavoiav ica Kat
Ta pypara TLKTELW.
KaAXwS ElKOS TOvs HuLOéovs Tois PHuact
peitooe xphabau 1060
Kal yap TOUS (parious MOV XpP@VTAL TON
Teporepolaiy:
apod XPNTTAS | ratrabelEarros OveAULHVO
ov.

4

/ 7
TL Spacas ;

1055 rotow & 7BGo. R: rols & nBdor cett.: rots HBGow 5é

Bentley

1057 Iapvaccévy RV: Iapvacdy vulg.: Hapyibwv

Bentley. —> 1058 xpiv Fritzsche; but the reference is
general (not to ov)

re

1063—80 | BATPAXOI 59
AIS. wpatov pev tols Bactrevovtas paxe
apmuryev, iv’ édevvol 3
n b) / / > -
tois avOpwtros paivowT’ eivat.

ET. TovT ovv éBraWa ti Spdcas ;
> > A a) n
AIS. ovxovv é0érer ye Tpinpapyeiy mrovTav |
> \ \ a 4
ovoels Ola TavTa, 1065

adra paxiois TepuAdOpevos KAdEL Kal
not méveo Oat.
Al. wy Thy Anpntpa, yiTava y éyov ovrAwY
éptov uTrévepOev:
kay Tadta Néyov éEaratioy, Tapa Tovs
ix0bs avéxuwev.

AIX. er ad Nadsay éritndedcat Kal Mntabe

/
édidakas,
res | / 4 - / \ \
H Eexévwoev Tas Te TadaiotTpas Kal TOUS
TapdXous averreroev 1070

aytayopevew Tois adpyovow. Kaitou TOTE
y, nvik eyo. Cov,
ovUK HTloTAaVT adXrX % palav Kadécat Kal
puTTarat Evrety.’ ; Sa
AI. viv 8 dytiréyer,. xodnér edabvov mr
— Seupt KatOis éxetce.
AIS. colwv &é KAKO@V OUK aiTios €oT 3:
ov Tpoaryoyous: wearedeck oUTOS,
Kab TLKTOUGAS ép “TOUS lepots, 1080

1063 édeewol Mss. Bentley restored the Attic form
1064 dalvowr’ R: dalywrr’ V 1066 dAdd faxlois R: adn’
év pakios V. (Mss. often show ignorance of the lengthening
before p) || mepuAduevos R (made from -e\d-) V: Meprerhdevos
vulg.: mepudduevos Cobet. —> 1076 é\atver kal VR:
dhatvew kal whety vulg. ; corr. Dind.

60

Al.

XO.

BATPAXOI 1082—1106

\ / b] ‘al \ an
Kat phackovoas ov Civ to Env;
eo 2 3 / e / e an
Kat eK ToUT@DY 7) TONS OV
e > /
VITOYpaUwaTewv ave“ecT@ON
/
Kat Boporoyov dSynpmotiOnkwv 1085
éEarratovTwy Tov OHmov adel:
b] el
AapuTadsa 5 ovdels olos Te Hépery
b ]
vr ayupvacias éTt vuvi.
: n b] ;
pa A’ ov 640, dot éradnuavOny
IlavaOnvaiotce yerov, Ste 67 1090
/
Bpadds avOpwros tis eOer Kvras
/ U
AevKoS Tiwy UTroNELTTOMEVOS,
\ 5 x ae i0 e K nan
Kat Sea Troidv: Kal’ ot Kepapijs
a / > a
év Taiot TUAaLS Traiove avToU
/
yaotépa mevpas Nayovas Tuynv: 1095
e / n
o 6 TUMTOPEVOS THLTe TAATELALS
puoay THY Naprad epeuye. Pee al
peya TO m pay pat TOAD TO velKos, dOpos
O TONEMWOS EpYeETAl.
yaneTrov ovy Epyov Siacpelr, 1100
e , ”
OTav o pev teivn Biaiws,
¢ > 3 / d 3 /
o 8 éravactpéhery Suvnta Kartrepeide-
aOat Topas.
V9 an an
GdAa pn v tavT® KabjcOor:
c
> \ / > \ U
egBodkal yap eélot Toddal YaTepat
copicpLatov.
6 TL Tep ovv éxeTov épifer, 1105
NéyeTov, EriTov, ava dé Séperov

1086 Ejected by Bergk 1089 én’ ddavdvOnv R: ara-
pavavOny Vi: éradavavOny al. : corr. Bentley 1106 dvadé-
perov MSS. except one (dvadépecOov): corr. Thiersch. Others
read dvadépecOov or ava 8 epeabov

1107—26

KT.

Al.
ET.

Al.
AIS.

BATPAXOI 61

/ \ \ \ 4
Ta TE WaAaWa KaL Ta KaLVa,
> / / \ \
KaTroKuvOuveveTov AeTTOY TL Kal coor
évyetv. |
\ a a /
e& 6€ TovTo KatadoBeicbov, pwn Tis
/ va)
apatia Tpoon
a my 2 \
tots Oewpmévorctv, ws TA 1110
\ \ n /
AETTA LN YyVoVat REyoVTOLY,
\ 5) a ng? ¢ Fe vf)? e/
pndev oppwdeite Tovl’> ws ovK €6 ovTa
a..3 f
TAUT EYEL.

€oTpatevpévor yap étot,

/ Ma’ v4 / \
BiBrXtov +t eExov Exaotos pavOaver Ta
beEva* |

4
at dvoes T AAAwS KpaTLCOTAL, 1115
n \ /
vov 6€ Kal TapnKovnyTat.
\ 9S
penodev ovv delontov, adra
/ ’ Dae He n ? e/ ? ¢
mavt emétitov, Geatav y ovvey, ws
dvTwV coda.
\ \ > ee b] \ \ /
Kal fnVv eT AUTOUS TOUS TpOOYoUS Tou
at ,
Tpewropuat,
A \ n a / /
OTTOS TO TPWTOV TNS Tpayo@otas fepos 1120
/ n a a an
TpwtTiaTov avtov Pacavim Tod deEvod.
> \ \ 9 b n / lal
acaghns yap nv ev Tn Ppdce. TOV Tpay-
paTov. |
\ na an a
Kal Trotov avtTov Bacaveeis ;
AUT HS TONNOUS Tavu.
a / \ i
Tp@Tov o€ por Tov €& ‘Opecteias réye.
A \ / - A b
aye 6n cwwTa Tas avnp. éy, Aloydtnre.
¢ A / b /
KppH yOoviec, ratp® éromtevav
/
Kpatyn 1126

1119 co al. (to prevent change of person addressed)

62

Al,
ET.
Al.

AIS.
ET.
AI.

AT>.

AI.

BATPAXOI 1127—46

a ‘ /
cwTnp Yyevod pot acippayos T
? /
alTOUMEVO.
HKO Yap ES YY THVOE Kal KATEPY oma.
a x
TovTwy eyes eye Te; EY. mrciv 7
dadexa. 1129
5) > a b)
GNX ovde TavTa y éotl TavT AN 1%) Tpia.
éyet 6 Exactoy eixociy y apapTias.
/ n a
Aicyvre, Tapawe cot ciwmav: e 5é pn,
\ \ > / / fal
Tpos Tplow lauPeEloror TpocopeirAwv aver.
é \ nA Oo. < Al >\ (0 ne /
YO clLwaTo TOO ; . €av TeiOn y €pois
»>\ \ ¢ / b / f Xo
evdus Yap NMAPTHNKEV OVPaVLOV Y OGoOV. 11385
C. s.—y a + AB, / / /
opas OTe Anpels ; AANA OALyoV YE pot MéEL”
al b] n
Tas ons p apapreiv; ET. adds é€&
> nan /
apyns eye.
‘EB an Ao as > /
pehH xGovie, Tatp® émomtevarv
/
Kpatn
o "0 / PS LAN ‘Ge / 8 rE
ovKovy Opéotns TOUT él TO TUULBO NéyeEL
tal fa} \ nm
T@ TOU TaTpos TEOvVEwTOS ;
ovUK GAAwS REéyo. 1140
/ b] i \ ¢ A id ¢€ \ b] /
ToTep ovv Tov Kpuny, ws 0 waTnp amTwdeTo
al / , \
avTov Biat@s €K yuUVaLKEias VEPOS
/ / a> > Me
dodXots AaPpators, Tad’T éTomTEveEery
7 si
EDN ;
an 9 va \
ov Ont ékelvos, GXAA TOV éptovYoy 1144
¢ a) / a“ /
Kpynv yO oviov mpoceire, Kadnrov Aéyor
¢e \ n n
OTL) TATP@OV TOVTO KEKTNTAL Yépas.

1129 rovrwy éxes Wéye TL; is given to AI. in RV, and some
editors so assign 1130 1130 ddd’ ovdé ravra Tatra y’ ear’
V al.: raira rdvra vy éor’ R al.: corr. Ed. — 1136
For the distribution see —> 1138 xpdrn. vulg.: xpdrn

Ed, —>

1144 éxewos R: éxetvov Y, —>

1147-68 BATPAXOI 63

ET. éru pettov éEnuaptes 7) "yo *Bovrounr:

ei yap TaTp@ov TO xGovov eyes yépas,
Al. ovTw x dv ein mpds TwaTpos TUUBwpvyos.
AId. Atovuce, rivers otvov ove avOocpiav. 1150

Al. éy’ érepov a’ta@: av 8 éeretHper TO BXABos.
AIX. coTynp yevod pot atppayds T
ALTOUMEVO.

Heo yap és yqv THVOE Kal KaTEpYopmas.
ET. dis tavrov hpiv eimev 0 copds Aiacyvaros.
AIS. was Sis;
ET. oKoTres TO phys éym Sé cor Hpdow. 1155
HK@ yap és ynv, pynot, Kal KaTépyopac:
HKetv S€ TavToV éeoTt TO KaTEpYopmat.
AI. vy tov Av’, dorep y et Tis EizroL yetTout,
xphaov av paKktpav, et dé Bovret,
Kap domo.
AIS. ov d9ta TodTO y, @ KaTecTOpVApéeve 1160
dvOpwre, TavT éot’, GAN ApioT eTrav éyov.
Al. asdy; didakov yap pe cal’ 6 Te 81)-Aéyens.
ATS. édOeiv pév eis yhv éo@ btm weTH TaTpas:
xopis yap adAns ocupdopas édndrvOev
devyov & avnp hKet Te Kal KaTépyeTat.
AI. bd, vy Tov ’AmrodA@. Ti od Aéyets, Edpitridy ;
ET. ov dnl tov ‘Opéctny xaterbeiv oixade:
AdOpa yap HAGEv, od TLO@Y ToOvs KuUpious.

1147 wetfov V: wadrAov R 1149 otrw y dv V: otrws dv R
1155 Others give rés dis ; to AI. 1157 ixewv dé MSS. :

‘Keo dé Aul. Gell. 13. 24 and editt. It is hard to. see why
jxew should have been substituted for a genuine jjcw. It is
imaginable Greek to say ‘to come (few) is the same thing
as your MOT SPXOB SL

64 BATPAXOI 1169—88
AI. ed, vy TOV “Epphy: 6 Te Néyeus 8 od pavOavo.
ET. sépawe roivuy érepov.
Al. \0c wépawe ov, 1170
Aioyvr, dvicas: od 8 eis TO KaKov
> /
aTroPNeTre.
/ > Do wits y Op Pee. f
Ald. tipBov & ér bx0m@ THbde KNptoow
TwarTpt
z > n
KNUVELV, AKOUCAL.
ET. Tovd érepov av dis réyer,
KNVELY, AKODTAaL, TavTOYV Ov cadéoTatTa.
AI. = teOvnKoow yap Erevyev, @ woxOnpée cv, 1175
ois ovdé Tpls AéyorTes eEtxvotpeOa.
AIS. od 6€ rds érrotets Tovs mTporoyous ;
ET. éya dpdcw:
yA \ / + ary \ \ y
Kav trov ous elm TavToyv }) oToLByy idys
bd fa ” fa) / / ‘
evovoav é&w@ TOU NOYou, KATaATTUGOV. 1179
AI. = i@- 87) Néy’s od yap podotiv aXN axovotéa
TOV TOV TpodOyav Ths opOdTnTos TOV éTav.
ET. jv Otdirovs TO Tpe@Tov. evdaipov
b) /
avynp, 1182
AIX. pa tov A’ od df’, ddrd Kaxodaipov dices,
¢ / \ a f e / 4
OvTWad ye, Tpiv hdvar pév, ATOArNWY Edy
aTOKTEVELY TOV TATEpA, TplY Kal yeryovévat:
TOS OVTOS HV TO TPATOV EVOALiWaV AVP;
ET. eit éyévet adOts dOXLHTaTOS BpoTap.
AIS. pa tov A’ od S47 od pev odv éravcaro.
1173 av@s Mss.: corr. Bake; ef. 1154 1182 edruyys
RV (apparently a gloss): evdaluwy al., cf. next line 1184
mpl pivac pev RV: mplv } (4 kal) diva al. : mplv wedpuxév’
Blaydes, with much probability. —> 1186 evruxi)s MSS. :

evdalumy editt.

1189-1208 BATPAXOI 65

Tas yap; Ste dy mpaTov pev avTov
yevouevov

xeuavos dvTos é&éfecay ev daTpaxy, 1190
iva wn KTpadels yévouTo TOV TaTpos povevs*
ei? as IlorvBov hppncev oiddv Te 1rdde°
éretta ypabv eynuev autos ov véos,
Kal pos ye TOVTOLS THY éavTov pntépa’
eit’ é£eTubAwoev avTov.

Al. evdalpov ap ip, 1195
ei KaoTpaTnynoéy ye peT "Epacwidov.
ET. dAnpeis: éyw S€é Tos pordyous Kaos TOLO..
AIS. xal pov pa tov At od Kat ros yé
cov Kviow
\ Cane v4 b] X \ al na
TO phe ExacTov, adr\ga avy Totow Oeois
amo AnKuOiov cou Tovs TpoAdyous SiadOepa.
ET. ao XAnkvOiov cd Tovs enous ;
AIX... évds povov. 1201
Towels yap ovTws wot évapmoTTew array
Kat K@ddploy Kal AnKVOLOV Kal PuvAAKLO?,
> a > / / ? + EN
év Tots tauBetorot. Seiéw 0 avTixa.
EY. id0v, od delEeus ; |
AIS. prt. Kal 8 xpi) Aéyewv. 1205
ET. Aiyumtos, @> 6 WreEloTOS com apt as
Novos,
Edy TALTL TEVTNKOVTA VAUVTIAM TAATH
"Apyos catacyov AIX. AnxtOov aro-
AETEDV.
1197 kado’s RV: kadds vulg. 1202 évappdgfev R (a
form not of the best Attic) . 1203 Qu. kata kwdSdpiov? —>:
kwOdpioy MSS.: corr. Dind. —> 1206 Others give kal dy

xpn Aéyew to AL.

F

66 | BATPAXOI _ 1209—26

\ / 9s \ / > /
Al. TovtTi Ti HY TO ANKVOLOY ; Ov KAaVGETAL 5
XE > ¢ > n a ¢ \ an
éy €TEpoY aAVT@ TpOoNOYyor, iva Kal yVO,

TaNwv. 1210
ET. Avovucos, b5 Ovpaotot Kal veBpav
Sopats
\ > / \
kalartos é€v mevenot Lapvaccor
KaTA

7™nda xopevov AIX. AnKvOvov amadnrecer.
AI. = oioe TreTAHYpEO adOus bro THS AnKvOov.
ET. addr ovdev éotat mpayyua: mpdos yap
TOUTOVL 1215
\ / > v4 / /
TOV Tpodoyov ovy &&et Tpocdrpat AjKVOo?.
OUKETTLYOOTLS TAVT AVP EvdaLMoveEr:
x \ \ b \ > 4 /
n yap TepvKws €oOXos ovK Eves Bior,
i Svayevns oy AIS. AnkvOcov amr@nrecev.
AI. LEvpiridn: EY. ti €orwvy ;
Al, tpécbat pour Soxei: 1220
\ / \ fa) 4 if
TO AnKVOLOV yap TodTO TvEevoETAL TOU.
ET. 008 av pa thv Anpntpa dpovticapi ye"
yuvl yap avTod ToDTO y éxKeKoeTaL. 1223
AI. 101 81 réy’ Erepov, Katréyou Tis AnKvOov.
ET. ScdSeveov wor dortv Kddpos éxrurav
Aynvopos mais AIX. AnxvO.ov aa@recer.

1210 A comma seems required after yv@: yvG Ranke.
1212 wevcnot V al.: mrevxaco. R vulg. Tragedy certainly used
locative-dative forms in -yo., and the mss. often duly record
them (see Introd. to Aesch. Cho. pp. ci sq. by Ed.). It is
quite unwarrantable to suppose that such forms are corruptions,
when corruption was only likely to be the other way. Cf.
Meisterhans’, pp. 94sq. In Zq..659 diynxoolno. is retained by
Neil. Cf. Av. 867 1220 doxe?’s Mss. : Soxet most editt. —>
1221 mvevoeirar MSS.: corr. Dind.

1227—47 BATPAXOI 67

Al. @ Sapovs’ avdpav, arotpio Tthv AjKVvOor,
iva pn Siaxvaion Tos TpoOAOYoUS HUOv.
ET. 7 TO Tl;
eyo Tpiwapar Tod ; Al. éay meiOyn xy epoil.
ET. ov dr, eel moddovs mporOyous é€o
Neve 1230
iy ovtos ovy &&ev mpocdrypat AnKvOvov.
Il éXow 6 Tavtranretos eis Wicav porov
Ooatcowv trmots AIS. AnKiOtov are@rXecev.
Al. pds, mpoctrev adOis ad thv AnKvOor.
Grr, wya?, éts Kal viv amodos tracy
TEYUN’ 1235
Ayres yap 6Borod wdvu Kadi Te Kayabny.
ET. pa tov Al’ obtrw y"* tt yap eiot poor ovyyvoi.
Oivets wor é« yas AIS. AnKvOsov
| aTr@NETED.
ET. éacov etreiv Tpar ONov pe TOV oTiXOV.
Oiveds mor éx ys ToNUmeETpoV raBov

-

oTAX UD, 1240
Ovovatrapyas AIX. AnKvOov arenrecer.
AI. petrakéd Ovav; xal tis av’ bdeireto ;

/ 95 mw NS.
ET. €éa avtov, ® Tav’ Tpos Todt yap eitraTo.
/ / an
ZLevs, OS AEXEKTAL THS aAnNOEias Uo,
> mn. A /
Al. = amroneis* Epel yap, AnKvOLov aTeXece?.
\ 4 \ a9 pe al U
TO AHKVOLOY yap ToT éeml Tots Tpodo-
/
yolol aou 1246
@otep TA DK él Tolow opOarpois edu.

1231 AnKvOcov RB al.: AjKvdov V al. For the final tribrach
ef. 1203 n. and Introd. p. xxxviii 1235 daédov one Ms. and
many critics. —> 1243 ga avrévy V: gacov R: é@a vy avrov
(or éagov avrév) al. —> 1245 amodeis R: diode o V. >

68 | BATPAXOI 1248—67

Gn és Ta pédAn Tpos TaV Deady avTod
TpaTrov.
ET. Kai pny eyo y ws adtov émidciEw KaKov
peXoTroLoy OYTA Kal TrOLODYTa TAUT aE. 1250.
XO. ti Tote Tpadywa yevnoeTat ;
>
dpovTivew yap éywoy eyo,
| Shed A / > /
TI apa peyrpiy eTroloes
avopt To ToAv TAcioTa 57
Kal KaXNLOTa péAN TOLN- 1255
caVTL TOV pexpl vuvt.
/ \ oY He ef
Gavpalo yap éywy on
pémrpetat mote TovToY
Tov Bakyelov avakta,
\ / Ik \ > a
Kal dSédory virép avTod. 1260
ET. wavy ye pédn Oavpacta’ deifer 69 Taya.
eis ev yap avTOU TavTa Ta méXn EvYTELO.
Al. kat pavrAoyodpas TadTa TOV Whdov AaBor.
an 9 n
ET. @6:67° AytdrXed, Ti tmoT avdpo-
SadikTov akover |
>
i?) KOTOV OU TWEAAOELS ET Apwyay ; 1265

4 a / :
Eppav wéev mpoyovov tiomev yévos ot
/
wept Nipvav.
>\ 4 bd , > ae b) /
in KoTOV ov werdbets ET aApwyar ;

1249 ois (for ws) Dobree. —> || émidelfw R: drodel&w V. —>
1252 dpovrigwy conj. Blaydes and Ed. (with different render-
ings). —> 1256 trav én viv dvTwy RV: ray viv ér’ dyTwV
al.: trav péxpt vuvi Meineke (led by schol.): vay é@u vuvl
Bentley. Qu. tdv émudvrav ? —> 1257-1260 Bracketed
by some editors. See note (—>) at 1260 1263 Aoyoduat
y attra Dobree. But raira opposes these to the previous
quotations. There is a stage-direction diav\vov mpocavdel tis
in the Mss. —>

4

1269—88

Al.
RT.

Al.
KT.

Al.

ET.

Al.
KT.

BATPAXOI 69

/ \ / > / /
dv0 col Kota, Atcyvnre, TOUTM.
Kvdotat Ayarav Atpéws ToAvKOipave
pavOavé pov Tat. | 1270
>\ / > / See ee /
in KOTOV Ov TEAAOELS ET Apwyar ;
/ b] / \ , &
TpLTOS, Atoyvne, Gol KOTFOS OUTOS.
> sede gah: / / ’ ,
evhapette’ wedtocovomot Oopov Apté-
potoos méXas olyeuv ee
>\ t 5 / > 9 3 / nage
in KOTOV OV TWEAAOELS ET ApwYav ; 1275
4 / > a ¢ / /
KUpLos ett Opoetyv OdLov KpaTos aiatov
avdpov
3\ / > / 5] > > /
in KoTrov ov TwerdOets Ew aApayar;
9 val a \ n an / e
@ Lev Bactred, TO Yphua THY KOTTMY OTOP.
> \ \ 9 > \ an 73 /
éy@ pev ovv és TO Badavetov BovrAopat:.
¢ \ n / \ \ \ n
UTO TOV KOoTTMV yap TH vedpw PovBoMd.
>
p), wplv y av axovons xatépavy otdow
PEND 1281
éx Tov KiOap@diKOVv vomwV ecipyaocuernv.
y OA / Pee / \ ,
1@c 82 wépawe, Kal KoTrov pr TpooTibes.
dTas “Ayatav Si@povoyv Kkpatos, “EX-
f 7
Adbos Bas, |
,
toprattoOpat topraTtToOpar: 1285
> / 5 an / /
piyya Ovoapmeptav mpvtaviv Kvva
TET EL; :
/
toprattoOpat todrXaTToOpar.

1276 dovov V vulg.: dd.ov al. and Aesch. Ag. 104: és dtov in
R represents 6 written in correction over o 1281 piv y
dxovens MSS. : corr. Elmsley. Even a tragedian will hardly dis-
pense with ay in his colloquial style 1285 jjPas RV:

Bay al.

as in Mss. of Aesch. 4g. 110. Qu. 4Pav (of the several

contingents) ? 1287 dvcauepiay Mss.: corr. Dind.

70 ae BATPAXOI 1289-1307

ou dopt Kab vept TpakTope Oovptos
dpvts,
TopratToOpar Top\atToOpar. 1290

Kupelvy Tapacyov itapats Kvolv
aepopottoss,
ToprNatToO pat ToprNatToO par.

TO ouyKkAruvés T Om Alapvte.
topratToOpat topAraTtroOpar. 1295
Al. ti 7d dratroOpar tovtr éotiv; ék
Mapadovos,
To0ev cuvérctas ipovioatpopov pméAn ;
AIS. Gd odv éya pév és TO Kadov €x TOD KaXOd
4 rep \ \ >t eae oe
nveyKov avd, iva pn Tov avtov Dovviyw
Netw@va Movoadyv itepov odbeinv
Spétov’ 1300
ovTos © amo TavT@Y pmért héper Tapowiov,
oxoriav Mernrtov, Kapicdy avrAnpaTov,
Opnvev, xopeav. taxa O€ dyrwOrjoeTas.
éveyKaT@ TLS TO AVpLOV. KaiToL TL Sel -
Avpas él TovTOV; Tov ‘oTW % Tots
Oo TPAKOLS 1305
avTn Kpotovoa; dedpo Moda’ Kiperidov,
\ Cee , Fo nes ae L
Tpos Hvmep eTiTNOELA TAOL Y GdEeLY MEAN.
1298 Qu. dA’ obv éyw per <y’>? 1301 wey Mss. : médc A.
Palmer. —> || ropvidiwy Mss., but ropvecdiwv would be required by
metre: wapowlwy (Kock) gives at least a welcome text 1303
xopelwy RV: xoperev one MS. —> 1305 émi rovrov V: émi
rovrovrov R, which shows an alteration of ro’rov to rodrov: corr.
Ed. —>: él rodrwy one Ms. and several editt. 1307 745 éo7’

vulg.: ray’ éor’ RB: ratr’ gor’ V: rdde y Hermann, but the
article would be required ; with ta&{-y’ (Ed.) it is not necessary

1308—32

Al.
AI>.

BATPAXOI 71

> An / Ud
attn mo8 % Moto’ ovx édeoPialer, ov.
? f AN ae , “@ /
GNKUVOVES, aL Tap aevaots Varagaons
/
KULATL TTMMUANETE,
Téyyougas voTiots TTEPOV
¢ me / / ,
pavict ypoa SpoctCopevas
~e s— He / \ /
at @ tmrwpodiot Kata ywvias
/ / 4
ELELELELELELALT OETE OAKTUAOLS Harayyes
/
toToOTOVva THVYLO MATa, | 1315
/ > nA /
KepKkloos adoLldod pendéTas,

iv o piravaros éranrdr€ Ser-
his mp@pars KvaveuBorors

— pavTeta Kal otadious.

AIX.
ATS.

oivavOas yavos apréXou, 1320
Botpvos éXtKa TavoiTovop. 3

> 9 /
mTepiBarr, ® TEKVOV, WrEVAS.

ec on \ eo A Ca
opas Tov moda TtovTov; Al. ope.
/ / n ee tc wn
ti Sat; Tovtov opds; Al. ope.
\ / \ n 4
TOLAVTL MEVTOL DU TOLWY . 1325
a > \ / /
TOAMAS Taua meAn Weyer ; .
\ \ / a / ?
Ta pev péAn oov tavta. PBovrAouar 6
ert
an n a /
Tov TaV pov@diav dieEeAOeiv TpoTrov. 1830
5 \ \
o Nuxtos xedatvodans
dpova, TiVa poe

1314 The number of ‘shakes’ in elevee . . varies in the MSS.
from four to seven. So 1348 (three to six) 1315. icrérova
V: isrérova R 1316 Kal Kxepxidos V al. 1329 co ?
van Leeuwen

72

BATPAXOI vageoet

SvaTavov dveEtpor

/ 4 b] an
méumers €€& adhavods,

"Aida mpoponror,
\ BA 4
yuxyav atruyov exorta,
/ \ a
peraivas Nue«tos tatoa, 1335
ppikadn Seivav Opev,
feNavovEeKvEipova,
hovia hovea SepKopevor,
peyarous dvuyas Exorta ;
GNAG “ol auditorot NVYVOY aaTe
KaNTLol T EK TOTALOY Spocov apaTe,
/ Pd
Oéppete 5 dap,
as av Octov dvetpov atoKAvow. 1340
/ a
iw wovtte Salmon,
(one 5] n 3 5% *e
TOUT éKkelv* t@ EvvoLKol,
-. re ,
Tade Tépa Dedoadbe,
/
TOV GNEKTPVOVA fLoV oUVapTrdcaca
hpovdn Irven.
Nvpdat dpecciyovor,
® Mavia, EvAXNaBe. 1845
ae Mee 3 / z t 2. 0,
éyo 6 ad TaddaLva TpOTexXOVG ETVYXOP
EWAUTHS Epyoct,
Néivouv pweaToyv aTpaKToV
ELELELELELELALTTOVTA YEpoLD,
KNwWOoTHpa ToLoda, OTS
Kvedatos eis ayopav 1350
dépove’ atrodoipav:

1833 mpduorov RV: mpdrodor (mpoc-) al. 1342 ra 6

Erepa R:

1314 erit.

Ta6e répara V: corr. L. Dindorf. — 1348 Cf,
note

1352-71

BATPAXOI 73

¢ >] > / > | > / ’ > POE .
0 0 avémtat avéemtat és ailépa

/ a
KovboTatats TTEPVYoV akpals:
> \ > 4 > YA /
éuol & aye ayea KaTerTe,
Sadxpva Sadxpuad T am dppatav
éBarov éBarov a TAApOD. 1355
arr’, @ Kpfres, “Idas réxva,

/ / /
“Ta Toka AaPorvTes ETAapvUVATE,

ie ’
TAQ KONA T GpTardETE, KU-
KOU MEVOL THY OLKiaY.
dua dé Aixruvva wais a Kara
>
Tas Kuvickas youve éXOET@ 1360
dia Sduov travtTayy.
\ ? oy \ / > /
av 6, ® Atos durvpous avéxovoa
NapTadas ofvTatas yxe-
n id / /
poty Exata, tapadynvor
3 / v4 x
és [Xvens, Oras ap
cicedovoa pwpdcw.

Al. avcacOov 45n TaY pedOr.
AIS. Kapouy ars.
émt tov otadwov yap avTov dayaryeiv
BovrAopat, 1365
e/ > / \ / n /
One éEenery Eas THM: WONT VGN, OROH:
TO yap Bapos vo Bacaviet TOV pnwaroov.
AI. ire Sedpo vuv, elrep ye Set Kal TodTO pe,
| avopaiv TonT ay TupoTwAHCaL TeXVHDY.
XO. , émitrovoi x ob bef col. 1370
T0de yap €repov av Tépas
1359 mats “Apreuis kahd Mss.: corr. Kock 1362 dévurd-
Taw al, —> 1366 do7ep aenéyEer (or y’ éAéyéer) and pudvos
al, —> 1367 v» RV: v@v some editt. from one Ms.

74 | BATPAXOI ‘1372-87

/ > / | /
VEOXMOY, aTOTTiAaS TEWD,
A / \ b) / 7
0 TLS GV eTrevonoevy AXXO ;

\ / > \ ae SCRE) oh y
pba TOV, éym pev ovd av el TUS
BY f lal ? /

ENEYE MOL THY ETTLTUYOVTOD, 1375
> / b) b he Xx
émlOounv, AXrN mony av
\ \ a
QUTOV avTa Dypeiv.

AIONTSOS. AISXTAOS. ETPITIIAHS.

TMAOTTON
AI. (0: vuv rwapictacbov Tapa To TAAOTLYY »
AI. ET. | idov:
AI. kali AaBopévw TO pw ExdteEpos elraToy, -
kal pn peOncOov, mpi adv éya od@v
KOKKUT@* 1380
AIS. ET. — éyopeda.
Al. ToUTrOS VUV AéyeToV eis TOV oTAO MOP.
ET. ¢10° ddher “Apyods py Statracbar
oKapos
AIS. Sarepyece wotadpée Bovvomou tT étre-
oTpopai,
AI. koxkv, péOecbe: Kal Torv ye KaTwTépw
yapet TO Tobe. ET. gai ti mor éotl
TATLOV ‘4 1385

Al. 6ru eicéOnne TroTapmov, épvoTT@NtKOs
= / “a.
Uypov Toncas ToUTOS WaTEP TApLas

1373 émrevénoev V: érolncey R 1878 ic 67 RV: tr
vuv al. ; cf. 372 1384 wedeire MSS. and in 1893: péOecbe

Porson, but it is not easy to see why the corruption occurred.
meOtere may possibly be right

1388—1404 BATPAXOI 75

\ b) > / 9 b] /
av © eicéOnxas TovTos émTepwpévor.
EY. add €tepov eidtw Te KavticTnoaTo.
AI. rAdBeobe troivuy addres.

AIS, ET. jw idov. Al. réye. 1390
EY. ov« éots IlesOotds tpov adXO TAHY

NOyos.

Al>. povos Oedv yap Odvatos od Swpor
épa.

AI. péOecOe: péOecbe: Kal To TovdE xy ad
c/s
péres’ 1393

Oavatov yap elo éOnke Bapvtatov KQKOD.
ET. éyw 6€ wes0e xy, eros dpioT EL pNLevov.
\ \ an Ee 5] \ na > 54
Al. metOm dé Kavpov €EOTL KAL VOUY OUK Exo.
. ann’ Etepov ad Enter Te TOV Bapucrab pon,
6 Te coe Kabér€en, Kaprepov Te Kal peya.
ET. gépe rod towotto SjTad povoti; Tov;

Al. dpaca:
BéBrAnk ~Aywrreds Sto KvBo kat
TEéETTApA. ~ 1400

deyour’ av, Os we ‘ott AOLTH Thor
oTACLS.

ET. oudnpoBpibés T éraBe Sefua Evrov.

AIS. és’ dpparos yap adpua Kat vexp@

veKpos—
Al. é&nratnkev ad ce xai viv. EY. ro
TPOTT® ;

1393 peOeire uebeire MSS.: corr. Porson, but perhaps pebted’
tere is right, cf. 1384. —> ‘Won Leeuwen gives kal 7rd roddé
KTr. to Euripides 1394 xkaxdv RV: kaxy al. 1403
Qu. Kav (for cal)? —>

76 | BATPAXOI 1405—24

AI. 60° dppar’ eionveyxe kal vexp@ dvo, 1405
a > x 4 > xO? ¢ \ >] f
ods ovK av apawT ovd éExaTov AlyvmTuoL.
AIS. kat ponnér Ewouye Kat émos, aXN és TOV
arab op
avTOS, Ta TaLol, % yuVN, Ky puoper,
éuBas Kadnodw ceo Ta BuBria:
0. A \ eee A n 7 A Pde /
éyo O€ Ov ern TOV éEua@v ép® povoy, 1410
Al. dvdpes hiro, Kayo pev avTods ov KpLWa.
ov "yap ov exFpas ovdeTépo yevmoopat.
TOV pev yap Hyovpay copor, To &
HOOmat.
IIA. ovdév apa mpakews @virep 7AOEs ovveKa.
AI. éav 6€ xpivo ;

ITA. Tov repov AaBov ame, 1415 )

a ne 5 / > >of \ s *
omToTepov av Kpivyns, Ww EhOns wn pwarny.
AI. evdarpovoins. hépe, wvOecOE pov Tadd.
éya KaTnrOov 'ért montnv. ET. tod
Yap ;
AI. ty % rods cwbeica tods yopods ayy.
¢ / 9 x n / /
OTTOTEPOS OVY AY TH TrOAEL TrapaLVETeELY 1420
MEAN TL XpNETOV, TOdTOY aEEW poi SoKe.
a \ i \ 9 10 i>
mpatov yey ovv tmept AXKiBiddov tiv
eyeTov
yvenpny exaTepos 3 H TWoNss yap Ova ToKel,
ET. éyev O€ wept avtod tiva yvopnv ;

1405 clonveyxe R: elcé@nxe V. The common source may

have been eioévynoe (‘ piled in’) Ed. 1406 do’ Dobree, but
the gender may be attracted 1410 pdvov R:. péva V.
Both are correct, but the sense slightly differs 1411

dvdpes MsS.: corr. Dind. || dio R: codol V. The preceding
-s might either produce an c- or cause its loss; but oid
better suits the next line 1411 avros R, which is possible

1424-38 BATPAXOI 77

Al, Tiva ;
Tole pév, €vyOaiper dé, BovrAeTas S
4
EVEL. 1425

GXX 6 TL voeiTov, eimatov TovToU Trépt.
ET. ptoe Tronritny, dots @perety TaTpav
Bpadd’s daveitar, peyadda Se Bra-
—Tew Taxvs,
Kal TOplmov AUTO, TH TWONEL © apn--
Yavov. 1429
AI. ed y, & Tlocedov: od 5 tiva yropuny exes;
AIS. [0d xpi) A€ovros cxdbpvov év réd|ew Tpéperv.]
pddtoTa pev A€ovTa pn Vv Tore TpEedewy,
hv & éxtpadn tus, Tots Tpomows Uarnperety.
Al. wv) tov Ata tov cwrihpa, dvcKpitas y eyo:
0 pev copas yap eimev, 0 8 €rEpos
Tapas.
GN ETL miav yvoOpNV ExaTepos elTraToV 1435
Tepl THs Toews HvTw exeTov cwTnpiav.
ET. éyo per oida Kai Oérw dpaterv. -
Al. eye. 1437 (= 1442)
ET. e tus rrepdoas Kreoxpetov Kuvyoia
1438 (=1489)

1428 gaveirac R Suid.: répuxe V: mépavrar (wédnve ?) Ha-

maker. —> 1431 sq. Editors are divided as to which of
the two lines is to be retained. 1432 is omitted by V al.,
but — 1432 éxrpadp MSS. : éxtpépy Plut. Alc. 16. —>

1434 6 0° repos cop&s Meineke, with great probability. —>

1437 (=1442 of ordinary text) sqq. For the arrangement
here (Ed.) see —>. Editors have necessarily recognised the
impossibility of the text as it stands and the confusion
of two versions. But there is no reason to suppose any of
the verses spurious, 1437 (=1442) xa0é\w is no improve-
ment. —>

78 , BATPAXOI 1439-57

7 9 / e \ /
aipoley avpat TedNaylay uTép Taka,
/ / rn >
Al. = yédovov av daivorto: votv & éyeu tiva;
> lal bd
EY. et vavpayotev, nat éyovtes d€idas 1441
aR ? \ / na 2 f
patvorey €s ta BrEhapa ToV évayTioV.
Al Dy, @ ladapnses, @ t j
- €vy,® lladayunoes, © copaTtaTyn duos.
\ / 9 b} \ & XK nw
TaUVTL ToTEep avTOS nupes 7 Kndicopar;
\ / \ ’ a
EY. éy@ povos: tas 8 d€idas Knduicoddv..
1445 (=1453)
["Exédoors ’.
EY. é6rav ta. vbv drvora ric’ nyopeOa, 1446 (= 1448)
ta 8 OvTa trict drucTa.
Al, TOS; ov pavOavu.
b] A / > x \ A
apaberrepov mus eire kal cadéeorrepov.
ET. = ci tOv wodtTov oict Viv TicTedvoper,
rovTos amutyoaipev, ois 8 ov ypdpeba,
tovToi. xpnoaiperO, iows owleipev av.
ei vov ye SvoTvxovpev Ev TOUTOWL, TOS
TavavTl av mpattovTes ov awloine? av ;
1453 (=1450)]
/ 7
AI. i dat Ayers ov;

AIS. THY TOY VOY por dpdcov
Tp@TOV, Tiol YpHTas: mWoTEpa Tots xpN-
OTOL }

Al. moev ; 1455
pices kaxvota. AIX. tols tovnpois 8

MOETAL ; |
AI. ov dr éxeivn y, ara xphnta mpos. Siar.
1439 (=1440) Qu. dépiov dpar? 1441 (=1442) xar-
éxovres RV 1444 (=—1452) edpes Mss. ; cf. 806 1451
(=1448) Text V: xpnoaliuecOa cwlelnucy dv R: xpnoatuecd’
isws owbeinuev dy al. —> 1453 (=1450) rdvavtia MSS. :

corr. Dobree || rpdrrovres V: mpdéavres R

1458-78

AIX.
Al.
AIX.

Al.
AIS.

Al.

ITA.
Al.

ET~
Al.
EY.
AL,
EY.
Al.

ET.
Al.

BATPAXOI 79

A i 3 / /
TOS OU TIS AV GMOELE TOLAUTHY TOXLY,
A / / /
) Te xYAaiva pynTEe clovpa cuphéeper ;
y |
eUpioxe vy Ai’, eirep avadvcet Taw. 1460
a 3 /
éxet dpaca av: évOadi & ov Bovdropar.
nN ]
pn Sta ov y, adr évOévd avier Tayabd.
a \ ca) /
THY Yhv OTaV Vopicwol THY TOV TrONELLWY
5S / \ / A
civat odetépav, Thy dé oheTépay TOV
TONELLOD, 1464
/ \ \ a b) / \ \ f
Topov S€ Tas vais, atropiay O€ TOY TropoP.
> / e \ \ /
ev, TANVY Y O OLtKATTHS aUTAa KaTaTriVEL
/
fLOvos.
, Yd
Kplvos av.
WA n / /
auTn opwv Kplois yevnoeTat.
e / \ ¢ e \ /
aipnoopar yap ovrep 1) >Wuyn Oéreu.
an fal f
pepvnjevos vuv TOV Gedy, oS Wpmocas, 1469
5 \ > / > 5y bs] e an \ /
h pny amakew pw oiKad, aipod Tovs didous.:
¢€ an ) a | / b] ? / > id /
HYA@TT opwpmox, Atcyvrov 5 aipnoopar.
, / S ? /
TL O€0pakas, @ plapwTat avlpwror ;
eye ;
BY 4 n ? / \ \ 7
expiva vikav Aioyvdov. Tin yap ov;
y >
alcyiotov épyov mpooPBréTeELs p
/
elpyaopévos ;
/ 5 > / x \ A fa /
Th alaypov, Hv pn Tos Oewpévors
S0Kk7 ; 1475
a , / \ /

@ oyeTde, Treproirer we 61 TEOvHKOTA ;
/ 76 > \ A / > ra
Tis oldev E6 TO Chv pév Eats KaTOavet?,

\ A \ a x \ /
TO mvel bé SeiTrveiv, TO S€ KabevdeLv
K@OLOV ; fy

1474 Epyov eipyacuévos mpocBdéres R (uw Epyov V): epyov pw’
épyacdmevos al.: corr. al.

80

IIA.

ITA.
Al,

XO.

BATPAXOI 1479-1503

@pette Toivuy, -@® Atovuc, elow. Al.
Xp

f /

TL dal;

/ / \ \ > a
wa Eeviow of@ mpiv arroTeiv.

ev ToL Déryers 1480
\ \ /9 3 \ ” n /
vn Tov Aus ov yap axyPopat TO TPaypyaTt.
pardpios y avnp éyav
Evveow nKpiBopéevny,
mapa dé TodXolow pabeiv.
dde yap ed dpovely Soxnoas 1485
TAaNW aTELTLW OlKAS ad,
ee > mm \ n /
é7 aya0@ pev Tots ToXtTaLs,
pe: b] “ \ a ¢e n
ém ayale@ Sé Tois éavTod
/ \ f
Evyyevéot Te Kat didowcs,
Ova TO GUVETOS Eivat. 1490
xaplev ody pn Loxparer
TapakaOnwevov aneiv
> / \
ATOBAXOVTA MovoLKHV
Ta TE péyloTa TapadiTrovTa
THS Tpay@douchs Téxyvys. 1495
To © éml cepvoiow Royoot
Kal oxapipynopotor Ajnpeov
SuatpuBnv apyov trocicOas
Tapappovouvtos avdpos.
dye 6 yalpwv, Aicytre, yadper, 1500
\ / / \ € Ud
id ow@le TroAw sie icab ee
>] nw
yvropas ayabais, Kat tratdevcov
\ > / \- > > /
TOUS avontous* ToAXol 6 eiciv:

1482 wakdpids y RV: waxdproy schol. 1497 cKapigi-
gpotor al., but the verb-stem is cxapidpa- 1501 The con-

jecture duerépay is an error. —>

1504—1528 BATPAXOI 81

cat dos tovtt Kreoparvts hépar,
KAL TOUTL TOLoL TOpLa Tats, 1505
/ / > ¢ a \ /
Mippnki @ opod cai Nixopay@
/ Fi-¥ /
Tooe & “Apyevouq:
\ 4 & > na / c/
Kat ppag avtois Tayews Kew
& HX \ \ \ /
@s éue Sevpl Kal pn pédrewv"
XN \ / 4 FAN
KAV PN TAXEWS NKWOLV, EYW 1510
vy tov AmroAXw otit~as avtovs
Kal oupTrodicas
per “Adexdvtov tov AevKorodou
KaTa YAS Taxéws amroTréuapo.
AIS. tatdta rojow: avd dé tov OaKov 1515
\ > ee. / an a
Tov éuov trapddos Lopoxdel Typeiv
Kal diacwdlew, iv dp éyo Torte
dedp adbikwopat. TodvTov yap éyw
copia Kpiva Sevtepov civas.
/ 2 ee: 4 ¢ a ee,
PELVNTO & OTws oO Tavoupyos avnp 1520
Kal vrevdoroyos Kal Bwpordoyos
pndérot eis Tov OaKkov tov épov -
> A > an
pnd axov éyxabedetrat.
IIA. daivete toivuy tpets TovT@
Aapmddas lepds, yada WpotéumeTe 1525
TOloLY TOUTOV TOUTOV péAECL) .
Kal poATraiowv KeNAdODYTES.
XO. mpata pév evodiay ayabny amvovte TonTh
1505 rotro R: rovrow. V: rovti al.: Tovrovai (sc. rods Bpdxous)
Bergk : rovrovyi Elmsley. —> 1515 Opdvov RV: Oéxor al.:
corr. Bentley ; cf. 1522 1517 Kal diacwfew.R: kal owfey
cett.: kal wo omgfev Bentley: xdel o@few (Ed.) is a likely

common source of the readings 1522 OGxov RV: O8xor al.;
ef. 1515

G

82

BATPAXOI 1529—33

> / > / / / id \

és dos opvupévw Sote, Saipoves of Kata
yatas,

™ O€ Tore peyadtov ayalav ayabas
> /
ETTLVOLAS. (1530

Tayxv yap ek peyddov axyéwov Tavoai-
(ped ap obras

apyaréov T év Ordos Evvodor. ’ Ky¢o-
pav & payécOo |

KaAXNos 0 BovdAdmevos: To’TwY TaTpioLs
éy apovpats.

1529 yaias R: yatay cett. The influence proceeds ‘from
beneath.’ Cf. (barely with that excuse) Aesch. Cho. 473 @edv

ef

Tay KaTa yas 60 tuvos

NOTES

ENTER Dionysus, dressed in a saffron-coloured xirwy and
wearing the soft high boots called xé@opya. Over his effeminate
tunic (see 46) he has thrown a lion’s skin (Aeovr}) in imitation
of Herakles, and is also carrying a club (pé7adov). As a
traveller he is probably wearing a brimmed hat (7éracos).
Xanthias is mounted on a donkey, but is carrying across his
shoulders a pole (dvdgopov), from either end of which hang
bundles of travelling baggage (cxe’y including orpwyuarddecpua).
[The ass is got rid of at the first change of scene. ] i

The names of slaves were chiefly derived from (1) the colour
of their complexion and hair, e.g. Zav@ias, Iluppias, (2) the
country of their origin, e.g. Zvpos, Ppvé, Téras, (3) names
frequent in their own country (éyxwpia dvduara), e.g. TiBros
(Cappadocian), (4) names of kings of such countries, e.g.
Midas (from Phrygia), (5) names of good promise, e.g. Dwolas.

1. tdv eiwidtwv: sc. AéyecOa. The use of this neut.
. partic. as a simple.adj. (=70ddwv) is frequent.

Though Aristophanes chooses to ridicule the cheap buffoonery
and clap-trap phrases which pleased the more vulgar part of the
audience (@éarpov), and though he is here presumably ‘ putting
a spoke in the wheel’ of his rivals (as in Vesp. 58), he is him-
self occasionally guilty of the same device (77. 307 Dind.). In
Pac. 748 he claims to have done away with the stock jokes of
whipped slaves and similar kaxa& kal pdprov kal Bwyoroxetmar’
ayevv7, but here he is insidiously introducing them while
pretending to despise them.

2. ép ois . . yeAGouv: i.e. in amusement, while & yedGow
would express scorn.

ae{ is cutting: ‘they never fail.’ The audience come in for
their share of the reproof.

Phe & te BotAe ye: ye gives an intonation; ‘whatever you
tke.

83

84 THE FROGS OF ARISTOPHANES 9

TwAHY weetonar. There is a slight pause before these words,
and then he forbids the very phrase which Xanthias would have
chosen and which he does eventually manage to drag in (30).
méfouar and ws OAlBouar were some of those cant and vulgar
terms which enjoy a vogue for a time without much humour in
themselves.

4. wavv.. xodn, ‘it has become positively sickening’
(not only to the speaker, but to people in general). Writing éo7’
we may compare (the subject being roiro) Ach. 125 ratra djr
ovx ayxovn; and contrast Hor. Sat. 2. 6.32 hoc tuvat et mellt
est. This seems more natural than éo7’ (=‘for by this time
there is utter disgust with it’).

xoAq: cf. Hor. Hp. 1. 19. 20 bilem . . . vestri movere
tumultus. An anonymous epigram has ws kai rod uédros 76
mwhéov é€otl XoX7.

5. pyd’: sc. clr. i

doretov : urbanum ; ‘smart,’ ‘ piece of pretty wit.’ Cf. 901,
906. That which (to use eighteenth-century language) takes
‘the town’ is chic and up-to-date. The opposite is dypoxdr.
Aristophanes is sarcastic at the prevailing notions of wit.

6. To mdvu yédouv, ‘what really is funny’; lit. ‘that
really funny phrase.’ But Di. anticipates his ‘really funny’
phrase and forbids it; whereupon Xa, is in despair. [yeAotov
is not the Attic accentuation. |

7. ékeivo: tllud: ‘ that (favourite or notorious) phrase.’

to tl; The article is prefixed to ri or wotos mostly when
the question refers to something already mentioned (cf. lequed ?).
Like the present place is Plat. Phaedr. 277 A 2Q. viv dn éxetva
Hon Suvdueba xplver. PAI. ra wota ; (Kiihner-Gerth, Gr. Synt.
§ 465. 2).

8. peraBadrAduevos: middle because the action is reflexive.
The bearer who shifts the pole from shoulder to shoulder gives
himself a change.

ravadopov. The dvddopor (or dovdda) is a carrying-pole like
that of the Chinese rather than the milkman’s yoke. The
‘ latter would not be changed from shoulder to shoulder. Xa. is
carrying Ta oTpwpara (Xen. Mem. 8. 18. 6) tied on one end and
the other baggage (cxe’n) on the other. For illustration see
Smith, Dict. Ant. i. p. 211.

dru xeLnrids, ‘that you are fit to burst.’

9. tl Sr We u«.t.A.: not=det, but sarcastically : ‘what
was the use of your giving me the baggage to carry (before we

9-15 NOTES 85

came upon the stage), if it was not simply to enable me to
make the common jokes?’ The comedians often satirise their
own proceedings, the stage-machinery, and the audience.

Tatra Ta oKei’yn. Tatra (iste) is frequently contemptuous
(cf. rovrwy in v. 14)=‘ your old baggage.’

13. elrep wojow . ., ‘if ] am not going todo...’ More
commonly eizep wédAX\w tojoev. For this fut. ef. 20 (épet),
1460, Av. 759 alpe wrAKrpor, ef waxel, Vesp. 1263 uabnréov rip’
€oTt modXovs Tav Adywr, | elzep arorelaw under.

Ppivixos: a rival comedian now competing with Aristophanes.
His Motoa: won the second prize. [He must be distinguished
from (1) the general who figures in the revolution of 411 B.c.,
and who was assassinated in that year; (2) the tragic poet,
who had been dead for two-thirds of a century (see inf. 910).] _

We must not take too seriously the attacks of the comic
poets upon each other. Their reciprocal charges of staleness,
plagiarism and other literary sins are only part of the Dionysiac
game. The schol. says that in the extant works of Phrynichus
there was nothing of the kind here mentioned.

14. elw0e wrovetv: playing upon the senses ‘do’ and ‘compose
poetry.’ This justifies the repetition of the word and also gives
the contemptuous point, ‘I could make as good a thing as P.’

Adis: possibly a nickname. If there was a writer named
Lycis he is unknown. Kock, however, reports that the
letters ATKIZ appear in a fragmentary inscription recording
dramatic victories, and therefore it is too bold to read the
conjecture xd7l)ukos. ;

"Apenplas: a distinguished rival, who won the first prize
against the Birds of Aristoph. (414 B.c.), and was second when
our poet was third with the Clouds (423 B.c.).

15. okevnhopoto”. The reading is doubtful and the line
may be spurious. One note among the scholia ‘implies that
the annotator’s text’ did not possess it (Rutherford). [It
might even be suggested that vv. 14, 15 are both interpolated,
the former being added under the misconception that the
grammar of v. 13 was incomplete. |

Keeping the line (with oxevngopodo’ and the common punctua-
tion) the construction is elrep rojow undev TrovTwy d&mrep Ppivixos
elwOe moteiv Kal (darep) Avxis kdperwlas cxeuvngpopodor, i.e. ‘if I
am to do none of those things which P. is accustomed to do (or.
‘put in his pieces’) and (which) Lyc. and Am. do when carry- '
ing baggage.’ The idiom pydev dvrep . . oxevndopoicr is
sufficiently Greek in itself, the accus. being internal. Thus

86 THE FROGS OF ARISTOPHANES 16—26

Ta0Ta oKkevnpopovo.=‘in this way do they carry baggage ’=
‘they do this when carrying baggage.’ Cf. inf. 833 dep
éxdorore | év Tals Tpaywdlaow éreparevero, Ach. 647 éxelvwy av
évavpaxnoauev, Dem. 18. 198 Snrots dé cal é& dv FFs (‘from the
way in which you spend your life’). In Greek a writer is said
to do what he represents others as doing, and a comedian there-
fore ‘carries baggage’ in making his characters do so. It
might be objected that we should expect the relative to be
repeated (xwv Avs). Even so wd rather than cal would be
normal. But in a conversational sentence of some length such
awkwardness as exists is not unnatural.

[We might also punctuate (with Bergk). after moety and
translate ‘Also Lycisand Ameipsias always carry baggage in
comedy.’ But (apart from the abruptness) the point is not
that they carry baggage, but that their baggage-carriers always
make poor jokes. In a reading rov’s oxevodédpous (Fritzsche) the
accus. should depend on soveiy, i.e. ‘if I am to do none of those
things which P. and L. and A. are wont to do éo their baggage-
carriers.’ Possibly, if further conjectures are ee we
might suggest <ws> sxevopopoto’ ‘when they .

16. pa vuv Tonoys: sc. avrdé or olrws; cf. Soph. Aj. 1155 ef
yap twojoes, ict mnuavovpevos, Verg. Aen. 1. 62 ni faciat, Hel.
2. 44 et factet.

éy® Oedpevos, ‘when J am a spectator.’ The statue of
Dionysus was placed in the theatre before the play began, and
there is a humorous allusion to this.

17. rotvtwv: cf. 13.

18. mwAeiv . . damrépxopar, ‘1 80 home an older man by more
than a year.’ These old jokes ‘age a man so’; cf. Cic. de Or.
2. 59 seniwm est cum audio. The schol. quotes Hom. Od. 19.
360 ala yap év kaxéryntt Bporolt KaraynpdoKover. So stale and
weary jests are said dmoAvvat, drroxvalev, oparrev. [ret
should not be called a ‘ contraction of wéov.’ ]

20. Sre: clearly better than rv. In the sense of the latter
the comedian would have preferred ei. OAtBerar: slyly
getting in the forbidden word (5). Td yéXovov, ‘the (usual)
funny thing.’

ovk épei, ‘is not to (be permitted to) say’; cf. 138. Those
who alter to ép@ have but a captious sense of humour. The
neck is personified, and it gets ‘all the kicks without the
halfpence’; it has borne all this trouble simply to get a chance
of ‘speaking its piece,’ and now this reward is denied.

21—25 NOTES 87

21. cir’: indignantis, as often. For the form of expression
cf. Lys. 659 tadr’ ovx UBpis Ta mpdypmar’ earl wodd7 ;
22. Sr’: i.e. dre (67 cannot suffer elision).

Audvucos vids Zrapviov. Dionysus is the freeborn Athenian
master with a patronymic (like Nexias Nexnpdrov, Anuoobévns
Anuoobévouvs), while Xanthias, being a slave, ‘has no father.’
Ct. 631 n. So the breadwoman in : Vesp. 1396 cries ovro pa
Ta Oe Karampoléee Mvuprias | ris “AyKuAlwvos Ouyarépos Kal
Xworpdrns (=‘I1 would have you know I am a freeborn.
Athenian woman’). The metre here is in keeping with aggrieved
dignity.

XTapviov. A orduvos or crapuvioy is a wine-jar, and Di. is
the god of wine. But there must be some joke beyond the
substitution of Zrapuviov for Avs. Zeus had many titles, and a
Zevs orduyios is invented on the analogy of Zevs piduos, tév10s,
etc. Possibly also there is a pun on raylov. In default of
anything better we may substitute ‘son of Juice’ for ‘son of
Zeus,’ while the tone may be given by ‘ Dionysus FitzDemi-
john.’ [It might perhaps be guessed that there was some
contemporary Athenian of drinking propensities with a name
which Zrayviov would recall. |

23. avros: implying ‘the master’ (ipse). See 520 n.

6x6, ‘give him a mount’ (more commonly ‘carry’). Cf.
Xen. Hipp. 4. 1 det rov tmmrapxov mpovoeivy brws dvaraty Tovs
imméas Tov Badifew, uérprov pwev dxovvTa K.T.X. .

24, Wva pi} tadaurwpotro x.t.A. The opt. depends on the
historical tense (éxetc@ac elaca) implied in the thought, viz.
‘I permitted him to ride (when we set out).’ Cf. 766, Vesp.
110 WHdwv dé deloas ph SenOeln toré, | tv’ xou Suxdfew, aiyranddv
évdov rpéper (i.e. cuvédetev Ware Tpéperv), Dem. 22. 11 rodrov éxeu
Tov Tpdtov 6 vduos, tva unde meoOqva . . yévor éml Te Shuw
(i.e. éré0n wore Exe). Kiihner-Gerth § 553. 4a.

The line sounds like a quotation, with dx@os ¢épo originally
metaphorical. This gives point to what follows.

25-30. ov yap dépw yo. Here follows a brief skit on logic
and jugglings with words as. practised by those who cultivated
the society of the sophists (or, as Ar. would imagine, of Socrates).
There are also secondary meanings for which it may be unprofit-
able to seek. Xanthias cuts short the logic with a philistine
appeal to facts, ‘all I know is that this shoulder—méferac’ (30).

26. dépwy ye tauti: sc. pépw, (why, I am bearing) by bearing
this.’ There is quibbling with various senses of the words in
dépw, tiva tpdrov, Bapéws, Bapos. To tiva tpdirov; ‘how 2?’

88 THE FROGS OF ARISTOPHANES 290-35

(logically), Xa. answers as if it had meant ‘in what manner ?’
Bapéws wavy plays upon the physical sense and the
mental (=moleste, aegre ferre): ‘it makes me sore enough.’
Td Bapos rod0’ takes up Bapéws, ‘your said burden (and
your said soreness).’

27. otvos: better than dvos (which would more naturally
be substituted in Mss. than vice versa). ‘Isn’t the donkey
bearing that sore burden?’ is the natural inquiry, and it con-
trives to call Xa. a donkey quite as plainly. Xa. indignantly
replies ‘I’m no donkey.’

31-32. ob... ob. .: the first od belongs to pis only, ‘ since
you (unlike me) say the donkey does you no good, it is your
turn to carry the donkey.’

33. Tl yap éy® otk évaupdxovv; lit. ‘why was JZ not for
joining in the sea-fight ?’=‘ why did I decline to join?’ ‘The
negative imperf. commonly denotes resistance to pressure, or
disappointment. Simple negation is aoristic’ (Gildersleeve,
Gk. Synt. § 216). Cf. Dem. 21. 163 otk dvéBaw’ émi rHv vadv
‘he would not go on board’ (lit. ‘he was not for embarking’).
Xen. Cyr. 1. 4. 21 éudyxero ovdels, GAN’ dwaxnrt adrwddurTO
(‘nobody would fight ’).

The reference is to the battle of Arginusae in the previous
year (406 B.c.). See Introd. p. xxv. Slaves as well as free
men were included in the great armada which the Athenians
made a supreme effort to send out, and those who took part
in the battle were given their liberty (cf. 693). If Xa. had
been one of these he could have snapped his fingers at his
master.

34. kaxtew pakpd, ‘a long be-hanged,’ instead of ‘a long
farewell’ (xalpew). Cf. Vesp. 584 kddew tyuets paxpa Thy
Kepady eimrévres TH SiaOnKyn, Hor. Sat. 1. 10. 91 te . . tubeo
plorare. [uaxpd is not strictly identical with meydra,
‘loud,’ but=(1) ‘long’ in duration ; (2) sounds which carry
far (Homeric paxpdv avreiv). ]

35. xataBa: the intrans. aor. of imperat. compounds of
Balvw is formed either thus or (more commonly) with -Byé.
The latter represents the imperat. ending -@: (in i@:, tc 6) added
to the root Ba (Attic Bn), while the former is the root-grade Ba
with imperat. ending -e (in pépe, etc.). Thus we have xard-

Ba-Ot or kard-Ba-e. Similarly riuha.
35-37. kal yap éyyts . . tpaméoOar. The rhythm points

to parody or semi-quotation. In that case we may join eiui
with Badigwr by what is known as the schema Chalcidicwm.

35-39 NOTES 89

Cf. 761, Soph. Aj. 1320 kdiorrés éopev, ibid. 1824 dpdv yap jv
rowatrad pe, Eur. Cycl. 381 fre rdoxovres, etc. Otherwise we
should better construe éyyts eluc ris Ovpas, Badigwy (‘as I
trudge,’ opposed to dxovmevos)=‘my trudging has at last
brought me. .” Cf. Hecl. 1093 éyy’s 4dn ris Ovpas | EAXxdpevds
elut, Plat. Lys. 204 B réppw Hon ef mropevduevos Tod Epwros,

37. er: as part of my plan.

madtov, mat, mpl, wat. [The hiatus is allowable in the
colloquial phrase.] The porter (@vpwpéds) is called three times
(the tragic év rpiros mpoopbéyuacww) as in Nub. 1145 wat, rut,
mat, mat, Aesch. Cho. 651 rpirov 768’ éxrépaya dwudtrwr Kare.
The call is accompanied by loud knocking, either with the
knocker (jérrpov) or more generally with beating upon the
door (xkpovey, kdrrew) with fist or stick. ‘What ho! there!
boy ! what ho !’

mpl. The only parts of the verb which are found are jul,
got and the aor. jv (8 eye), H (8 bs, & 9H).

38. Herakles himself appears at the door. The Athenians
would in all probability understand that he is ‘at home’ in the
temple of H. Alexikakos in Melite, the WNW. quarter of
Athens. Introd. B, p. xxxiii.

It was part of the regular stage-business (taken from real
life) for the porter to show surly annoyance when knocking was
impatient (cf. Nuwb. 133 sqq.). Herakles, acting as his own
porter, keeps up the tradition. |

@s Kevtavpikas. The Centaurs were proverbial for tSpis
(Xenophanes 1. 22). Among his other deeds as pioneer in
civilisation and destroyer of monsters Herakles had fought
with the Centaurs. The story of Nessus is also well known.
Hence the choice of this word as=dpiorik@s. ‘A savage way,
indeed, to knock at a man’s door!’ Cf. Plaut. Zruc. 2. 2. 1
quis tlic est qui tam proterve nostras aedes arietat ?

39. évydad’: an exaggeration, but suited to the act of a
Centaur. Literally in Soph. O. 7. 1261 atdats durdaits évjrar’,
éx 0€ mruOuévwr | Exdiwve Kotha KAjOpa. That kicking at doors
was sometimes resorted to appears from Terence (who imitates
Attic comedy), Hun. 2. 2. 54 istas (sc. fores) . . calcibus insultabis
frustra. [Greeks and Romans ‘kicked’ with the heel, as the
make of their shoes would prompt them to do.]

Sotis: guicumque. We should rather supply év7j\aro than
jv. More fully doris might be Soris 54, boris moré, or doris
dqmore. Cf. Hor. Od. 2. 13. 1 tlle et nefasto te posuit die,
quicumque primum (sc. poswit).

90 THE FROGS OF ARISTOPHANES 39—46

rourt tl qv; ‘what might this mean?’ So 1209 and Ach.
767 rourt rl fv 7d mpdyua; The imperf. as in v. 48 ot yijs
dredjues ; (‘ Where might you be going abroad?’). The use is
akin to that of jv dpa (‘is, as it seems’), and logically the basis
is ‘what was this (without our knowing it)?’ See Goodwin,
M. and T.§ 39, Gildersleeve, Gk. Synt. § 220 (where the tense
is called the imperf. of ‘sudden appreciation of the real state of
affairs ’),

Herakles is first amazed at Dionysus’ appearance, gives a
start, and is then convulsed with laughter. Di. attributes the
start to his own formidable aspect. —

40. o mais. The nom. with art. is more lordly than the
vocative, cf. 271. We must supply e.g. dxovérw.

41. pi palvoud ye: sc. eee, ‘Yes! afraid you might be
mad.’ ‘ye stresses uatvouo.

42. ov . . Sivapar pi} yeAav. The negative infin. after the
negative ov d’vauac would more commonly take ui od (Kiihner-
Gerth § 514. 5, Goodwin, MZ. and TJ. § 815), but ui alone is
found too often to provoke suspicion (K.-G. 5 h). Cf.
Aesch. P. V. 106 aX’ ot're avyav ore wn ovyadv rixas | ofdy Té
pot T4060’ éorl. Metre of course lends no criterion, since uy ov
forms one syllable. Both uses are combined in Xen. Mem. 34
ore un meuvjcOar d’vamar avTov, oTE peuvnuevos UH OUK eratvely.

[Though we cannot always find a special appropriateness in
oaths (Introd. pp. liii sq.). Demeter may here be chosen as
a goddess of silence. ]

43. Sdxvw guavtév. From biting the lips comes a colloquial
expression ‘to bite’ in the sense of putting on restraint. Cf.
Nub. 1369 rov Ovpdv daxdv. More explicitly Soph. Zrach. 976

ard’ toxe daxwv | crdua oor..

45. aroooBfjcat. There may be a play upon drocBéoa (cf.
yéhws doBeoros), but there must also be some further reason,
lost to us, for the present peculiar application of dzocoPeiy.
Tov yéXwv isa mapa mpocdoxiay for, e.g., Toy PdBov ; drocoBelv is
used of keeping off flies (the persistent or ‘shameless’ fly of
Homer) ; and there may have been some Athenian cant phrase
which lent humour to such a remark as ‘ Bother this laugh! I
wish it would go away,’ accompanied by a gesture.

yé&Aov and yé\wra both occur in comedy, the former being
specially Attic.

46. él KpoKwTo@ Kepevyv : i.e. the Acovr7 is a sort of iudrior
to the xpoxwrév (= xiTav kpoxwrés). The latter was a saffron-
yellow garment worn for show by women over the xiTav proper,

47-51 - , NOTES 91

but without itself being tudriov (Dict. Ant. i. p. 564). Only
very effeminate men could think of wearing this colour, but—
like the «d@opvos—it was part of the ceremonial attire of the
statue of Dionysus (Poll. 4. 117, Ath. 198 c). This was not
unnatural for the god of festivity.

47. tis6 vots; ‘ What is the meaning of it?’ Cf. Av. 994 ris
n wivoa; So the verb voeiv, e.g. Plat. Huthyd. 287 E Hpov, 6 re
vooln TO phua.

tl KdBopvos . . EvvyndASérnv; Cf. Thesm. 140 ris dai xardér-
Tpov kal Eigous Kowavia ; (of Agathon the yivus). The xd0opvos
is a woman’s boot (Hecl. 346, Lys. 657), soft, and capable of
being worn on either foot. Its effeminacy appears also from
Hdt. 1. 155, where Croesus, recommending Cyrus to make the
Lydians yyuvaixas dvri dvdp@v, would have them wear xé@opro.
[The use of cothurnus for the tragic buskin is not Greek, but
Roman.] In fvvnddérny the dual is deliberately used to
emphasise the peculiar ‘ pair’ the two things make,

48. wot yfjs amedqpers; For the tense see v. 39. These
strange additions to the ordinary costume of Di. are taken to
mean that he‘is about to travel.

émeBarevov Krdeodéve. The sentence is interrupted.
Dionysus begins his explanation at the beginning, viz. how he
came to be reading Euripides on board a ship. Lit. ‘I was
serving Cleisthenes (my trierarch) as a marine,’ the dat. being .
used as in ypapparevery rivi etc. For the sense cf. Thue. 8. 61
"Avtiobéver émiBarns EvveEnAOe. The émiBdra (milites classiariz)
were the fighting men, who generally numbered ten to the
trireme. Cleisthenes is to Aristoph. the type of effeminate and
dissolute youth (Hg. 1374 etc.), and the notion of either
Cleisthenes as trierarch (a duty imposed as a Ayrovpyla) or
Dionysus as fighting man would be sufficiently absurd.

49-50. There was doubtless much boasting after the battle
of Arginusae, and such braggadocio is here satirised. % 8o8ex’
H tpeokalSexa: ‘it may be a dozen, it may be thirteen’; it
was difficult to keep count exactly of such a trifle.

51. oH; i.e. ‘a pair of fellows like you!’

Kat’ tywy’ éEnypdpnv: ‘And then J woke.’ The words are —
much more probably an aside by Xanthias than a comment by
Herakles. Besides their appropriateness in the mouth of the
former, a dramatist always finds it desirable to keep his personae
from inactivity on the stage (Ath. 1908). Xanthias of course
indulges in derisive gestures, but he must occasionally also
speak (cf. 87). é@ywy should be noted. It is not as if he

92 THE FROGS OF ARISTOPHANES - 52-55

sarcastically completed the tale for Dionysus, ‘and then I
woke,’ but ‘and then J woke (if yow did not).’

52. kal Sr’: resumptive of v. 48; ‘and, to come to what
we were saying. .’ Cf. Vesp. 13, Plat. Prot. 310.

avaytyvookovTe . . Thy “Avdpopédav: a very popular play
of Euripides produced in 412 B.c. Much use is made of it in
burlesque in Thesm. 1018 sqq. [Paley’s notion that the ship
was named Andromeda and that D. read the name on the ship’s
side is not only extremely unnatural but is disproved by the
article. D. would not there read ‘the Andromeda.’]

54. ws ole. : grammatically a parenthetical question. The
corresponding English is ‘you can’t think how much.’ Cf.
Nub. 881 kak rév odiwy | Barpdxous émrole m&s Soxeis (‘you
can’t imagine how well’), Plut. 742 etc. The use is found in
tragedy, comedy and prose. Cf. Plat. Symp. 216 D dvorxOeis
wbons olecbe yéwer cwppootvys.

55. md00s; mdéoos tis; Point is given to this query only if
we assuine that Herakles draws himself up at the word érdrate
and is prepared to deal with the 1600s which has ‘struck’ his
‘little brother’ (60). ‘Struck you, did he? How big was he ?’

pixpos HAtkos Moéd@v. The precise sense of these words is
perhaps not now discoverable. It is altogether improbable that
Dionysus would reply that his 7660s was puxpds. Even if
ironically spoken the word seems to lack humour. There
appears at first sight to be an almost exact correspondence with
Plaut. Cure. 1.°2. 14 (taken from Attic comedy). A. Sitit
haec anus. B. Quantillwm sitit? A. Modica est, capit quad-
rantal. But in modica est there is a sarcasm on the thirst of
old women in general : ‘this one is moderate.’

Moreover, we are uncertain as to Molon. The name was not
rare, and we are told that among its bearers there was an actor
of Euripides (Dem. 19. 246), and also a footpad (Awmodvrns).
While Eustath. (p. 1834. 27) states that MéA\wves=ol rappeyé-
Ges, the schol. reports from Didymus (ob. cire. A.D. 10) that
the AwrodvTns was a small man. The actor would necessarily
be of good stature.

That the 7é0os is meant to be great is clear. If, therefore,
we do not (1) take the answer of Di. to be simply ironical, ‘a
little one (of course), the size of—Molon,’ we may perhaps (2)
render puxpds HAikos MéAwv by ‘as big as Little Molon,’ under-
standing (6) Mcxpéds to be an ironical nickname applied to a
huge man (cf. ‘the Woolwich infant’ and the like). Cf. Iuv.
8. 32 nanum .. Atlanta vocamus and context. Such nick-
names were frequent. Cf. Xen. Mem. 1. 4. 2 ’Apiorddnuov rov

58—64 NOTES 93

Mixpov émixadovpuevory, Strab. 14. 2. 26 6 Madakds ’Amoddwri0s.
The objection to the order (if we do not actually transpose with
HAtKkos pukpds Médoyv) is perhaps met by regarding the words
as partly quoted (in parody) and arranged so as to convey a
surprise, the promise in the first word pixpds being contradicted
by the last Médwv.

58. ov yap GAN’ x.7.A., ‘for, really, Iam in a bad way’: a
common elliptical -expression. Of. 192, 498. [There was
apparently an early confusion between ov yap dAdo (éoTiv #) . .
and ov yap (rocovrws éxex or the like), dAAd . . But the analysis
of such combinations is generally a slippery matter, and ov ydp,
d\\d . . (‘it is not so, but . .’) may after all be the origin. |

59. Tovotros twepos K.t.A. His painful case calls for the
tragic style, in which he is naturally an adept, as god of the
theatre and lover of Euripides. tpepos is scarcely conversational
Attic, though employed in the higher prose of Plato. Cf.
dapddmrer (66). :

60. otk txw dpdoar, ‘I cannot (find words to) express it.’

61. Spws ye pévrorw.t.A. The rhythm suggests tragic quota-
tion. By aiveypds (or alvvyua) is meant any indirect, allusive,
figurative form of expression, in place of speaking dm)d@s, cf.
Aesch. P. V. 637 ob« éumdéxwr aiviymar’ adX’ arr@ Adyw, Anaxil.
ap. Athen. 558 at Aadoto’ ardGs péev ovdév, AAN Ev alviypols Tot.

62. #5n . . érvovs; Herakles will understand an appeal to
his appetite, which was proverbial, as became the patron of
athletes (for whose greed see Eur. fr. 284. 7). Cf. 550 sqq.,
Kur. Ale. 749 sqq., lon fr. 29 twd dé ris etbpnuias (inrias *) |
karémie kal Ta KGa Kal Tos dvOpaxas, and the proverb ‘Hpaxdjjs
éevigerar. In Athen. 411 there is an elaborate description of
his ddngayia. In Vesp. 60 Aristoph. affects to be tired of
Herakles ‘ cheated of his dinner’ and in Pac. 741 considers the
exhibition of his gluttony a stale jest. Yet he does not disdain
the subject here and Av. 1689. The joke is similar to that
concerning aldermen and turtle-soup.

€rvovs: soup or brose of peas or pulse; cf. Hg. 1171 érvos
tiswov. The schol. tells us that it was a favourite strengthen-
ing food for fighting men. [érvovs is brought out after a brief
pause, as a half surprise, in place of something more noble. ]

64. dp éxSiSdoKw «.t.A., ‘Do I make myself clear, or shall
I express it another way?’ According to the schol. half the
line is from the Hypsipyle of Euripides. With érépg cf. ravry,
THE, and for the synecphonesis (7 érépg) or prodelision (4 ’répq)
— whichever may be correct—see Introd. pp. xli sq.

94 THE FROGS OF ARISTOPHANES 66—73

66. Sapddamre: see 59 n.

67. Kal Taira tod TeOvyKdros; usually xai ratra is joined
with a participle (cf. 704 n.), but that construction is here.
prevented by the article. There is, however, no special virtue
in a participle to give kal radra its meaning, which is simply

‘and that too’ (idque), and is theoretically capable of a wide
use. With the present place cf. Aesch. Hum. 628 od ydp rt
ratrov dvdpa yevvatov Oaveiy | kal radra mpds yuvaixds. The
article rod might possibly (as Blaydes suggests) distinguish the
dead Euripides from the living Eur. (his son or nephew), but
more naturally it is generic, ‘actually for a person who is
dead ?’

68 sq. Kovdels yé p Av meloeev. . TH pr odK «K.T.A,
Though in practice ro uy with infin. comes to be equal to wore
en (cf. Lys. 1196), in strict grammar it began as a contained
accus. (here of the persuasion administered). Cf. Aesch. P.V.
950 ovdév yap a’tw Tabr’ érapkéoa Td wh | weceiv aripws (of the
kind of érdpxeows). <A freer use followed ; eg. Av. 36 adrhv peév
ov micodvr’ éxelvny Thy Tod | Td wh Ov peyddAnv elvar Pioe (where
pucodvre contains the notion of da picos dpvoupérw).

ém’ éxetvov, ‘to fetch him.’

70. Katwrépo, The word is mouthed, in answer to kdrw :
‘Yes, indeed ; and if there is any place downer down.’

71. tonrod Seftod, ‘a poet who understands his business,’
i.e. technically a good craftsman. Of. de&drnros 1009 n.

Dionysus is the god of the theatre and is alarmed for the
theatrical prospects of the city Dionysia. Introd. p. xii.

72. ot pev yap K.t.A. From the Oeneus of Euripides. The
schol. quotes two lines of ortxouvOia, viz. <A.> od 3 Gd Epnuos
Evuudxywv ardddr\voa ; <B.> oi ev yap k.7.rX. It is commonly
assumed that the first line was spoken by Diomede, while the
second is the reply of the unhappy Oeneus, his grandfather.

73 sq. “Iobév: the son of Sophocles. He had produced
numerous plays with success during his father’s lifetime, from
at least as early as 428 B.c., when he obtained the second prize
in competition with the Hippolytus of Euripides; but it was
suspected that Sophocles lent him help (hence 78 sq.). Never-
theless he competed against Sophocles himself.

[There was also a younger Euripides, whom Ar. does not
notice. Among poetic relatives of Aeschylus were his son
Euphorion and his nephew Philocles, the latter of whom Ar.
ridicules elsewhere (Thesm. 168, Vesp, 461), |

73-83 NOTES 95

Todro yap Tou K.T.A., ie. ‘Yes (that only bears me out), for,
in point of fact, he is the only king left to bless us’ (not=
Tovro Td dyabdv Nouréy €or). Kal isa regular part of the phrase:
- ef. Thesm. 81 rotr’ aird yap Tou KaroXety we TpocdoKe.

el kal rotr’ dpa, ‘if even that (is such) after all.’

76. Lodokdéa: scanned with synizesis (Sogoxdéa). So
perhaps IIn\éa 863 n. and certainly ‘Hpaxdéd Thesm. 26. In
tragedy such pronunciation is not rare.

mpdtepov, ‘preferable.’ So priorem=superiorem. Cf. Nub.
643. Palmer’s mpérepov avr’ is very attractive, but not
necessary. With the expression he compares Eccl. 925 ovdeis
yap &s oe mpérepoy etoeio’ avT’ Euod.

77. éxetOev, ‘from the other world.’ Cf. 82 n.

78. dtrokaBav adrov pdvov, ‘getting him all by himself ;’
cf. Pac. 508 atrol 6h wovor AaBupe’ oi yewpyol.

79. & tT. mod: not merely ‘what he can do’ but ‘how he
can compose.’ .

Kodeviow: cf. 723 cexwiwvicpévors (of coins) and dxwddvoros.
Properly xwédwvigfew is to ‘treat like a bell,’ and the “word is
therefore appropriate to the ringing of a coin in order to test
the metal. .

82. 6 8 evdKodos k.t.A. The rhythm suggests a tragic
original. For év@a8e ‘in this world’ and its opposite éxet cf.
Plat. Rep. 330D of reydpuevor pOOo wept tev ev “Acdov, ws Tov
év0dde ddiknoavTa det éxet diddvac Sixny, Eur. Med. 1073 evda-
povotrov, add’ éxet. The amiable character of Sophocles appears
incidentally from Plat. Rep. 329 B.

83. “Ayd0wv: Agathon, a rich, handsome and accomplished
pupil of the rhetorical sophists Gorgias and Prodicus, was born
about 447 B.c. and had won success with tragedies by the year
416. Cf. Ath. 217 a, Plat. Symp. 175 E 7 6€ of copia . . mapa
gov véou dvtos otrw opddpa e&éNauwe x.7r.X. The scene of Plato’s
Symposium is laid at his house. In 407 B.c. he had withdrawn
(as Euripides had previously done) to the court of King
Archelaus of Macedonia. In the Thesmophoriazusae he is
satirised as a fop, but the present place shows that both his
literary and social merits were placed high. Aristotle (Poet. 9)
states that he was original and inventive in his plots, but also
(ibid. 18) that he was the first to disconnect the choric lyrics
from the real matter of the play.

amokurev p arotxerat, ‘he has departed and left me.’
See crit. note. olyera of the best Mss. gives the best sense.

96 THE FROGS OF ARISTOPHANES 85—86

The passage is meant to sound as if Agathon was dead.
olxerat suggests this, and in the next line ayads ronris k.7.X.,
‘a good poet and regretted by his friends,’ recalls an obituary
notice ‘a good citizen (woXlrns) and respected by all who knew
him.’ It was not, indeed, the approved Athenian custom to
place upon a tomb a complimentary inscription beyond the
word xpyords. Cf. Theoph. Char. 18. Nevertheless such
expressions may very well have been a sort of formula,
particularly used in the éauvos at the funeral feast.

For this notion dmolxyera is less good, but in &u’ ofyerar (of
Dind.) the emphatic pronoun is out of place. It is therefore
not impossible that, simulating the tearful emotion of the
funeral @rawos, Dionysus says with broken voice (éy mapoAkq)
amokirwv mw 6-o-olyerat. This trick was a natural one for
comedy. Cf. Hg. 32 Bpereréras (in fear), Av. 310 rororororod,
Plaut. Most. 316 (a tipsy man) 0-0-ocellws es meus.

85. és pakdpwv evwxlav: keeping up the play in olxerat.
There is an obvious suggestion of paxdpwv vicous or wakdpwr
evdamoviay. Cf. Plat. Phaed. 115 © olxnoomar daria eis paxdpwv
54 Twas evdatuovias. But since Agathon (a good diner, rhv
Tpdmegav Raumpds, according to the schol.) has gone to
Macedonia, there is a pun upon Makedévwy and a substitution
of evwxlay for evdamoviay. He has gone ‘to the Banquets of -
the Blest’ (or, to adapt a modern phrase, ‘ where good men go
when they di—ne’). Macedonian eating and drinking were
proverbial (Ath. 126 £). Doubtless, also, there is an allusion
to the blessedness of those who can manage to get away from
the present trouble and poverty of Athens.

86. 6 8 FevoxAéns—: With this punctuation Dionysus does
not let Herakles finish his sentence, but finishes it for him,
as if he knew what he was necessarily about to say: H. ‘And
Xenocles—’ JD. ‘Be hanged, by all means.’ This gives a
more natural use of vy Ala than if we put a question at
mevoxdéns. No words are wasted on Xen.; he is beyond
redemption.

fievokAéns. For the form (not Zevoxd\fs) see 787 n.
Carcinus, a tragedian of the date of Aeschylus and an inventor
of dances, had three sons, of whom Xenocles was also a
tragedian, while Xenotimus and Xenarchus were xopevrat.
The whole family incurred the ridicule, not only of Aristophanes -
(e.g. Vesp. 1500 sqq.), but of other comedians (e.g. Pherecrates
and Plato). According to Ar. (Thesm. 169) 6 6¢ EZevoxdéns av
kakds Kak@s moet, and both our poet and the comic Plato
satirise his recourse to tricks of plot and scene. We may best
understand Pac. 792 unxavodidns and Plato’s dwiexayjxavos to

87—92 NOTES 97

refer to his frequent introduction of melodramatic mechanical
devices. The schol. on Pac. l.c. says that Xenocles doxez
unxavas kal Teparelas elodryev év Tois Opduwaciv. Nevertheless, he
won a dramatic victory over Euripides (and his 7’roades tetra-
logy) in 415 B.c. Aelian (V.H. 2. 8.) calls the verdict yédovor,
but this opinion was easy to express when the lapse of centuries
had eliminated Xenocles from the canon of the tragedians.

87. IIv@ayyedos 8€; Nothing is known of Pythangelus.
Since there is no reply to this question we may suppose that
the answer is a sort of ‘silence of Ajax,’ or at most a con-
temptuous shrug of the shoulder. The latter would give point
to the following remark of Xanthias, whose time has come to
say or do something (see 51n.). ‘(You shrug your shoulder),
but (while you are talking about all these people) there is no
talk about me and my sore shoulder.’ [It is, indeed, possible
that there was some well-known story relating to Pyth. and
his shoulder—he may have had a thrashing or been a hunch-
back—and Xanthias may consequently break in with ‘ Talking
of shoulders, etc.’ Others suppose that a line has been lost,
and Tyrrell would read HP. Ilv@d-yyedos 5é; <AI. epi ye Todd’
ovdels Névyos | rAnv TovmitpiBelns>. BA. mepl éuod 8 x.7.r.
If anything is to be supplied this could hardly be bettered ;
but the first explanation seems sufficiently natural. ]

90. mety 7 pipra : more typically Attic than rdelw (rdéova)
% .. But itis flouting the evidence to deny the use of the
latter.

91. mAetv 4 oradiw Aadlorepa: a metaphor from the
dddxos or long foot-race ; ‘they could give him two hundred
yards and beat him.’ Cf. Nub. 430 rév ‘EXAjvev cvai pe
Aéyew Exarov cradloow dporov. A similar metaphor, but from
the short race (orddcov), occurs in a fragment of Eupolis éomep
ayabol Spots | éx déxka today jpec Néywv tovds pHropas (‘after
giving them ten feet start’.

92. émupvdAdSes. The precise meaning of this word is un-
certain. Explanations given are: (1) vines which grow rank
without bearing grapes (Fritzsche): cf. the Barren Fig-tree.
But for this there is no proper evidence ; (2) vines which bear
poor little grapes at the tops above the leaves ; (3) poor little
grapes growing in such a position, and therefore not worth
gathering ; (4) little bunches of grapes attached to the larger
bunches (a sort of leafage to them). The last is one of the
explanations of the scholia. So far as the formation of the
word is concerned we may compare it with émicropis, éacdoparis,
émvyhwrris, and these point to something which either grows

H

98 THE FROGS OF ARISTOPHANES 92—94

upon leaves or (more naturally) is itself a leafage to something
else ; they certainly lend no support to the notion of a vine. -
The whole weight of evidence (Steph. Thesawr.) is for the sense
Borpvd.a or exiles racemt, even if we cannot be more precise.
We may suspect that whereas the proper oragvAai grow clear
with full fruit, the éri@vdXides are the miserable little bunches
which seem to belong-to the leaves. Sufficient notice has
hardly been taken of Dionys. Hal. Rhet. 18 iyyodvra rods
émidoyous domep év Selrvw Tpayjuata elvat Tov Adywr Kal dorep
émigudAlbas kat grwutAuara, Which at least puts out of court
the meaning of ‘vines.’ That interpretation seems indeed to
have been due to a misapprehension of sovoeta as denoting the
place instead of the persons.

orapirApata, ‘chatterboxes’ ; lit. ‘pieces of chatter.’ .The
neut. abstract of a person is not rare: ef. AdAnua (Soph. Ané.
320). The act. sense (=dés \ade?) is rare as compared with the
passive, e.g. maldevua (=ds madeverat).

93. xedi8dvev povoeta, ‘choirs of swallows.’ jovcetoy (like
béarpor, Sixaornptov, ‘choir,’ ‘school’ ) may beused either of a place
or of the gathering in it. [The schol. here quotes Eur. fr. 88
(Nauck) wodvds 8 dvetpre xicobs, evpuvhs Kddbos, | xedddvwv
povoetov. There is obviously a corruption in this for dndévwv
povoetov (Meineke), the substitution being a slip of the schol.
due to our context in Aristophanes. Cf. Eur. Hel. 1107 cé rap
évavrois vd devdpoxduors | pwovoeta . . évigovoay . . pedwddy
dndéva. Swallows do not gather to sing in the ivy, and, as
songsters, they can only be treated with disdain.] xedddvwv
povoeta is a humorous oxymoron, with a parodist’s perversion of
the Euripidean addy wr,

The twittering of the swallow was to the Greek the embodi-
ment of the unintelligible or inarticulate (and hence the story
that the tongueless Philomela or Procne—according to different
accounts—was turned into a swallow). Cf. 681 n., Aesch. Ag.
1034 xediddvos Sixny | dyrdra dwvhnv BdpBapov Kexrnuévyn. So
xed Oovifev = BapBaplfev. Not only (1) the wepaxdrAdua cannot
express themselves in intelligible Greek, but (2) they are
garrulous. For the latter characteristic of the swallow cf.
Verg. Georg. 4. 307 garrula .. . hirundo, Theoph. Char. 5 xeX-
ddvwv NaXlorepos.

AwByral réxvys, ‘who outrage Art.’ The article is absent -
because of the personification. d

94. &: reverting to the gender of rair’: sc. Ta merpaxddNa.

Garrov, ‘double quick.’ Like ociws, the word came to be
duse as a positive. It acquired this meaning partly because

94-97 NOTES 99

(like Gooov from d&yx-) it was no longer felt to be the obvious
comparative of raxv (which it originally was), rdxvov or TaxUTEpor
having been invented, and partly because of the common
military use 0arrov (7 Bddyv)= ‘quick march.’

iv povov xopov AdBy, ‘if only they once get a play accepted.’
A poet who wished to be one of the competitors at the dramatic
festival must first apply to the archon for a chorus (= xopdv
airety), to be provided and trained at the expense of a xopnyés.
If he succeeds, he is said xopdv AaBety ; the archon xopdy dtdwor.
It is not known exactly on what principle the archon acted,
but it is evident that he gave the preference to those who had
previously won or approached success (oi evdoximotyres kal
doxywacbévres says a schol. on Plato), and he must have used
his best judgment in the case of new blood, The Athenian
audience expressed its opinion freely by hissing, disturbance
and refusal to listen (= éxovpirreiv, éxBddAdrev), and a playwright
who made an egregious failure would ‘disappear’ from the
arena. For the expression cf. Lg. 513 Bacavifew was odxi madac
xopoy airoln xa’ éavrdv, Pac. 801 Srav yxopoy . . ph xy
Mépoipos.

96. yovwpoy, ‘ virile,’ having fertility in matter and ideas, like
a omépya yoviywov from which something will grow. An egg is
yovyuov when it will hatch into a chicken ; otherwise it is
dvepiatov.

. . Gv odx efpois: a somewhat unusual position of dy. Cf.
Pac. 137 adn’, & per, dv wo oiriwy SiurdGv @5er, Eur, Tro. 416
drap Néxos ye THT’ Gv ovdK exTyoAdnP. |

97. The rhythm of this line is tragic, and \dko suggests
quotation.

boris. . AdKor (followed by doris . . POEyEerar) : instead of
Aakyjoetat. Goodwin (M. and T. § 57) calls the use ‘ final,’ but
this cannot be substantiated. Parallel is Soph. Ph. 279
(6payra) . . dvdpa 8 ovdév’ evroror, | ov>x Baris dpkécerev, odd
boris vcouv | KauvovTt cvANdBotro, where Jebb explains the opt.
as the past indirect of the delib. subjunctive. He treats e.g.
Trach. 903 xpi Wao’ éavrjy, vOa wy Tis eicidor as an extension of
the same. But we have again to consider e.g. Aesch. Cho.
171 ov« éorw Boris wAIy éwod Kelparrd vw and the like. These
are rightly treated by Goodwin (§241) as potential. Other
potentials without d&y survived in poetry e.g. Aesch. Ag. 557 ra
pév tus 8 AéEecev, Herond. 3. 74 ovdels o° érawéoeer, Eur. J.A.
418 wore repbcins idév, and in prose and comedy in the
expressions ws ddfeev, ws elo. tis (see note on Plat. Proem to
Ideal Commonwealth 360 Bs). There is also a well-known

100 THE FROGS OF ARISTOPHANES — 97—100

tendency to ‘assimilate’ the verb of a relat. clause to an
optat. of the introducing clause, but such instances are capable
of a better explanation than the word ‘attraction.’

It is generally recognised by comparative philologists that
the best ascertained original sense of the opt. was potential
(‘may’ or ‘can,’ and, after a past tense, ‘might’ or ‘could’),
and that the opt. of the wish (for example) is derived from
this. The addition of dy is later, the particle serving as a
help-word. It was not dy which justified the optative ; it only
assisted the sense. Is it not, therefore, easiest to suppose that
when, in relat. clauses attached to a sentence containing an
opt. (potential or of wish), the opt. (commonly called ‘ assimi-
lated’) is used, it is really nothing but the pure potential more
easily retained in such a neighbourhood? This is apparently
the view of Brugmann (@riech. Gramm. § 560). <A so-called
‘final’ opt. or ‘remote deliberative’ falls easily under this
heading. So the instance here = ‘one who could utter.’
Similarly in wishes, e.g. Eur. Hel. 435 ris Gv mudwpds éx dduwv
Moro, | Saris Suayyeiheve (‘ who might announce’).

We are apt to be too much influenced by the fact that Attic
Greek had practically ceased to use the dyv-less potential in
prose (except in one or two phrases) and therefore to look for
too recondite a reason for such an opt. when it occurs with the
assistance of another. Doubtless the opt. in etpas dv helps to
retain the potential éc71s AdKxor, but it does not create it.
Meanwhile we call the fut. doris pOéyéerac one of ‘ purpose,’
but the two constructions are in reality simply ‘you would
not find a poet who could deliver himself of a fine expression,
i.e. one who will utter . .’

yevvatov=‘ prime,’ ‘first-rate.’ Cf. Plat. Legg. 8445 rip
yevvalay viv Neyouévnv orapudiy i rd yevvaia cixa, Rep. 372 8B
pagas yevvaias. pihpais not a ‘word’ (as the context shows),
but a phrase or expression.

Adkor suggests a kind of oracular deliverance. Cf. Plut.
39 ri OfTa PoiBos frdaxev éx tev oreupdrwv; Eur. 1.7. 976
Tplrodos éx xpvood Aakwv | PoiBos.

99. mapakekivSuveupévov, ‘boldly ventured’; i.e. an ex-
pression which takes some risks in respect of being received
with approval (inf. 1108). Cf. Hor. Od. 4. 2. 10 sew per
audaces nova dithyrambos | verba devolvit.

100. aiépa Ards Swpdriov, ‘apartment of Zeus’ (Jovis
cubiculum), a prosaic burlesque of a pjua in the Melanippe of
Euripides duvuue 8 tepdv aidép’ otknow Ards (quoted again in
Thesm. 272), cf. 311. There could be no objection to the ex-

100—I01 NOTES 101

pression ‘Zeus dwelling in the sky,’ since Homer has Zevs
aidép. vatwy, and therefore we must conclude that, to Ar. at
least, the noun olkynow Ards carried with it a rather ludicrous
or prosaic suggestion not belonging to the verbal phrase,
perhaps rather like ‘domicile.’ In dwudriov the dimin. should
be noted. The vast air is, it appears, but a dwudriov. With
the comic result cf. Plaut. Amph. 3. 1. 3 (Luppiter) in
supertore qui habito cenaculo.

xpdévov wdé8a. Euripides had said (Bacch. 888) dapdv xpdévov
méda (‘stride’) and fr. 42 N kal ypdvouv mpovBaive movs, personi-
fying Xpévos. Shakespeare also (4.Y.L.J. 3. 2) has ‘the lazy
foot of Time.’ Greek literature was cautious with metaphors,
since a quick intelligence was apt to visualise the notion, and
so discover incongruities and frigidities which might escape
those who have no habit of reducing a phrase to distinct
apprehension. :

101. hpéva pév ovk x.7.X.: referring, though not directly,
to Eur, Hipp. 612 7 yAGoo’ buwpmox’, 7 5€ Pphy dvamoros, which
the comedian wittily brings home inf. 1471, as he does also in
Thesm. 275. The meaning of Eurip. is that Hippolytus has
sworn without due cognisance and that his conscience is there-
fore not bound. He had not sworn with full judgment (¢pyr)
of the circumstances. Cicero (Of. 3. 29. 107) explains and
upholds the saying. Cf. Ov. Her. 21. 135 quae iwrat mens est ;
nil coniuravimus tla: Tila fidem dictis addere sola potest. But
this attitude opens the gate for much casuistry, and the
business of Athenian life could hardly have been carried on if
oaths had not been felt to be absolutely binding. The dpxos
entered into so many relations of political, social and judicial
affairs in which it was almost the only safeguard (cf. mpowpoaia,
dvrapocla, trwuocia, é&wuocla etc.) that, if the prevailing
superstitious belief in the penalties of perjury were destroyed,
_ the very existence of society was threatened. The old school,
therefore, regard the Euripidean line as extremely dangerous.
In Arist. Rhet. 3. 15. 8 a certain Hygiaenon, during a law
case, charges Eur. with doéBeva in this verse. But Eur. was
quite innocent of the meaning that the lips might swear while
the mind had no intention to keep the oath.

Commentators do not, however, appear to have noted the
form and rhythm of the present line, which are very different
from those of the verse in the Hippolytus, and, indeed, only
just escape not making a verse at all. It looks as if there were
some other passage in the mind of Aristophanes, which he
proceeds to garble. We should not print (with Blaydes,
Holden, ete.) both lines as quotation. but mark at least émvopK%-

ie
wel i

102 THE FROGS OF ARISTOPHANES 101—106

cacav idia THs ppevds aS a mapa mpocdoxiar, i.e. ‘a mind which
refuses to swear by victims, but a tongue which—perjured
itself without regard to the mind.’ Euripides had probably
said in some natural connexion only ¢péva ov« é0édoveay budooL
ka’ iepav. This will explain the difference of tense, é0é\oveay
being in the quotation, but émiopxjcacav Aristophanes’ account
of the subsequent action. [If ‘tongue’ was in the parodied
passage the form would there of course be yAdooav not
yAOrrav. |

Kad’ iepdy, lit. ‘down upon the heads of victims’=‘ while
devoting victims.’ Cf. Thuc. 5. 47 duvivrwy Spxov tov
Méy.orov Kata tepwv Terelwv, Hg. 660 Kara xiAlwy mapyveca |
evxXi Tojncacba xiudpwr.

103. o& . . apéoxer; Both dat. and accus. are Attic with
dpésxew, the acc. being more idiomatic to that dialect. The
emphasis of oc must not be overlooked: ‘do yow like that sort
of thing?’ i.e. ‘some people do, no doubt ; but do you ?’

ParAAG: ie. wh (Adve ‘Sdpéoxe”), dAAG K.7.r. ‘Don’t say
‘*like it” ; I am worse than mad after it.” Cf. 745, and so in
Plato.

104. 7 piv KéBada y’ éorly, ‘I'll swear it’s arrant humbug.’
KoBanela* 1 tpogmontiKy per’ ardryns madd (Harpocrat.). The
particles 4] piv asseverate, as in an oath. Cf. Eur, Ale. 692.
ye emphasises the adjective.

as Kal ool Soxet: (1) ‘and you think so, too,’ or (2) ‘as even
yow think (and you are not particularly bright).’ The latter
is at least the most humorous.

105, py Tov ewdv olke. votv: playing upon two senses of
oixew : (1) ‘dwell in’ (2) ‘ manage’ (inf. 976). When Euripides
(fr. 144N) says wh Tov éudv olka votv: éyw yap apxécw the
whole expression is the tragic and dignified equivalent of
‘mind your own business.’ So J.A. 331 ovxl dewd; rdv eudv
oikeiv otkov ovK édooua; (‘manage my own concerns’), Andr,
581 was ; 4 Tov adv olkov olxhcers worwy | detp’; obx drs cou
ToY KaTa Lrapryv Kparety; Prose would use droety and Ar.
plays with the other sense. In ph Tov enor olka vodv: exes
yap—oixiay there is also perhaps the point ‘for you haye’—
but then instead of ‘a vods of your own,’ he will only go so
far as to admit that Herakles has ‘an ofxia.’ [‘My mind can
mind itself: never you mind.’]

106. kal piv arexvas ye: join kal why . . ye, or, in other
words, ye belongs to the sentence. Lit. ‘indeed, and it appears
wretched stuff’=‘well, I can only say, it appears..’ In

107—115 NOTES 103

mopadvnpa there may be either a moral or an aesthetic sense,
or both.

107. Samvety pe SiSacke: ie. that is yourforte. Of. 62 n.

108-112. dvmep tvexa . . tva por . . Tovrovs. If we
punctuate, as is commonly done, with comma at KépBepor,
the construction is ‘but the matters for which I came, (viz.)
in order that you might tell me your friends . . tell me them,’
where ‘them’ should grammatically be ratra, looking back to
the rather distant dv7ep évexa, but is diverted to rovrovs by the
intervening éévovs. But it is more idiomatic to put a period
at KépBepov and render ‘but the reason why I came (was this,
viz.) in order that...’ Cf. Plat. Rep. 330B 00 ro évexa
Hpounv, hv & éyw, bri poor Edogas od} cHbdpa adyamdv Ta xphuwara
(‘why I asked was this, because -.’). Cf. Phaedr. 248 8,
Lach, 184 B etc.

109. kara otv pluynow: even comedy does not require
Ti ohv, since the meaning is ‘in an imitation of you,’

110. e Seofunv: primary tenses would have given épxouac
iva ppdoys, av dvvwmat.

éxp=éxpdov. It does not appear why the natural accent
of ss. has been so frequently altered to éxpa.

éml roy KépBepov. The twelfth labour of Herakles was
‘to fetch’ Cerberus.

112. Awsévas, dpromadta K.t.A. The words are spoken with
calculating pauses.

113. dvatratAas = dvaravornpia, ‘resting-places by the road’ ;
ef, Plat. Legg. 625 B davdmravAa kara THv Oddy, ws elkds, mviryous
dvros TA viv év Tots bWyrols Sévdpeciy elot oxcepal. For travel
in ancient Greece see Becker’s Charikles [Becker-Goll], first

scene and Excursus. :

éxtpomds : places where one could get off the road, e.g. to
‘outspan’ for a while. Not the same as the Latin deversoria,
which were inns (kataywy.a, karadNvoes); cf. [Eur.] Rhes. 880
vexpovs | Odmrew Kedevew Newpdpouvs Kar’ éxtpomds (bends or
recesses beside the highway).

114. Siatras: apartments, lodgings, or ‘flats.’ Cf. diaeta
when borrowed into Latin: Plut. Mor. 6670 Alényos (a spa)
xwplov KkaTrecxevacpévov oixjoect kal diairacs Ath. 2700.

twavdokeurpfas: humorously instead of zavdoxeta. Inns
were frequently kept by women (cf. 549) of unrefined class.

115. képes: still a great plague in the common Greek inns,

104 — THE FROGS OF ARISTOPHANES — 117-121

so that travellers often sleep in a sort of bag. The ancients
carried their own orpwyuara.

117. pate trav 684v Stas k.t.A. The gen. of that concern-
ing which one speaks is illustrated by Soph. Zr. 1122 ris
Myrpos Hkw THs éuns ppdowv év ols | viv éotw, Ph. 440 dvaklov
Mev pwros ékepjooua. | . . Th viv xupet, Plat. Rep. 439B rod
rogérov ot} Kah@s exer Aévyew Sri x.7.X. It will, however, be .
perceived that in these instances, as in the present case, the
gen. does not stand alone with the verb, but is followed by a
clause which defines that matter, appertaining to the thing or
person in question, which is to be told or asked. In the
simple rod kagvyvjrov ti pis; (Soph. “7. 317) the order might
be rl rod Kaovyvjrov dys; ‘what matter of (=appertaining to)
thy brother?’ This is the same partitive construct. as in
Touré cov Oavudgw. We may next substitute for the single
words ri or rodro a whole phrase, as in the text and the
illustrative passages. For opdfe trav dav Thy taxlorny or
drola raxioTa agitdueba we get d. Tay ddGv Srrws K.7T.d. (‘ how’

. virtually = ‘that way by which’. .).

120. rlva ; For the repetition of reflection cf. 460, 1399.

121. pla pev yap «.7.A. There are three chief roads to death,
called in modern times ‘ dagger, cord, and bowl.’ Among the
Greeks these were élgos, Bpdxos, xwvevov (Zenob. 6. 11), although
in schol. to Pind. O. 1. 97 the third is varied, viz. Eidos, ayx6vy,
kpnuvos. To these (alternative) combinations refers the pro-
verbial expression 7d rpla trav eis Odvarov. See Meineke Com.
Frag. ii. pp. 867, 1165. Herakles here enumerates fpdxos,
Kwvevov, Kkpnuvds.

ard Kédw kal Opavlov, ‘by way of Rope-and-Stool.’ The
humour cannot be translated. The expression contains (1)
probably a rapa mpocdoxiay and possibly a pun, the words kéAw
kat @pavlov coming instead of some locality from which one
might start, and of which the name was not unlike part at
least of kéddw xal Opaviov (cf. 7 did Ovelas 124); (2) certainly a
play upon the sense (a) dd kddw (adeiv, EX\xerPar) as used of
being ‘towed,’ and did Opavlov (rXetv) =‘ by means of upper- |
bench rowing’ (i.e. making a voyage by means of tow-rope and
upper rower’s bench), and another sense (b) of mounting a stool,
fastening the noose, and then kicking the stool away (see
Theoc. 33. 49 sqq.).

The Opavtrac were the highest or inmost tier of rowers in
a trireme and were in the best places. Herakles is describing
a fairly pleasant way of travelling. It is probable that in some
circumstances, while a vessel was towed, the towing was assisted

122—128 NOTES 105

by rowing on the one tier only. This would be not simply
mdety amd Kddw but mw. dd Kddw kal Opaviov.

For amd of the resources and working material cf. dé
AnxvGiov 1209 n. This use is extended till it becomes purely
modal, e.g. dad oovd7js or amd molov av tdxouvs aropi-yor
(Xen. An, 2. 5, 7).

122. KpepaoavtT. cavtdv: a concluding surprise.

mate. As an exclamation ‘Stop!’ it is Attic to say either
mave or madoa (but neither ravov nor maicov). Especially ef.
Ar. 889 mad’ és képaxas, matdoa xada@v. This use of the active
is permitted (though it is not frequent) even with a genitive
(cf. 580) or a participle (Pac. 326 mate rai’ dpxovuevos). The
intrans. use of the trans. wade in this exclamation began with
the sense ‘stop (it’ or ‘ things’).

aviuynpav. He had asked for a road not Oepuiy aya (119).
This one is positively ‘stifling.’

123. Edvropos rerpuspéevyn: (1) as applied to a road= ‘a
short cut, a well-beaten track’; (2) as applied to hemlock=
‘shredded and pounded.’ In Plat. Phaed. 116pD (of the hem-
lock of Socrates) éveyxdrw ris TO pdpyaxov, el rérpimTa, ei dé
un, Tpryarw 6 dvOpwmos, 117 A 7d pdppaxov év KidNiKt PépovTa
TeTpyipevov. For édvrowos cf. the use of réuvew, évréuvev
pdpyaka.

124. 4 81a Ovelas: in which the hemlock is pounded ; cf.
Pac. 230. Doubtless there is a play upon some local name,
e.g. Opia (there was a Thriasian gate of Athens): ‘the way
through — Mortar.’

125-126. uxpdv ye . .: sc. Ayers. The first effect of hem-
lock is to chill and deadén the extremities ; cf. Plin. H.W. 25.
13. 95 semini et foliis (cicutae) refrigeratoria vis. Quos enecat
incipiunt algere ab extremitatibus corporis. The numbness
ultimately reaches the heart. The best comment on this
passage is Plato’s account of the effect on Socrates (Phaed.
117 £) cPddpa miécas abrod Tov méda Fpero ei aicOdvoito, 6 8
ovK py. Kal wera Totr’ adfis Tas Kvywas. Kal éraviev otrws
huw éredelxvuto re Wixord Te Kal myyviTo.

128, as dvros ye pit} Badiotixod, ‘since I am not much of
a walker’; lit. ‘on the assumption that . .” In such @s-
clauses wy is regularly used in virtue of the imperative (here
gpdcov understood); cf. Soph. Ant. 1063 es wh "wrod jowr
ich thy éuhvy gppéva, and with gen. absol. Thuc. 7. 15 os
TOV OTPATLWTOV Un meuTTOY yeyevnuévwr, oTw Thy yvwunv ExeTeE,
Plat. Rep. 327 c¢ ws tolvuy ph dkovoouévwr, ottrw Siavoeicbe
(Kiihner-Gerth ii. p. 200).

106 THE FROGS OF ARISTOPHANES — r29—134

129. kaSéprvcov. The temple of Herakles Alexikakos was
on the heights of Melite and the Cerameicus lay below (xaé-)
to the north. Cerameicus lay both inside and outside the
Alrvdov -gate, the part called 6 évrés reiyous running from the
gate to the Agora, while 6 éw lay between the gate and the
Academy. According to Pausanias (1. 30. 2) torch-races (Aap-
madndpouta, Naumrds, less often Aapradngpopia) began at the altar
of Prometheus (as rvup@épos) in the Academy and continued to
the city, probably inwards as far as the Prytaneum (see infra
1093 sqq. n.).° There were also torch-races in honour of
Hephaestus and Athena (at the Panathenaea), but we have
no definite information as to details,

és Kepapecxdv. The article is commonly (but by no means
always) omitted after a preposition with the name of a recognised
part of the city, e.g. dyopd, wédus (when =dxpdmodis), rpuTaveior.

130. tov mipyov. Some have fancied this to be the tower
of the solitary Timon Misanthropus (Paus. 1. 30. 4), a character
referred to (without mention of a tower) in Lys. 809, Av. 1549,
and by other comedians, Plutarch and Lucian. Shakespeare’s
Timon of Athens gives a very free treatment to the theme.
But we may be tolerably certain that Aristophanes would
have brought in the name (rdv wrvpyov tov Tiuwvos). The most
natural explanation is that the allusion is simply to some
particularly high wépyos, commonly known as 6 bWydos rvpyos,
among those on the walls of Athens, used as a look-out.

131. ddiepévny tiv Aaprdda, ‘see the torch-(race) being
started.’ So Napmdda rpéxew, vixdv; cf. Plat. Rep. 3284
ANawmras tora mpos éomwdepay Ty Oe. In the torch-race of the
Cerameicus the simpler form seems to have been used (Paus.
1. 30. 2), viz. with single competitors instead of relays or ‘sides.’

évrev0ev : with Ged.

132-133. éredav ddow .. evar, ‘when they say ‘‘let
go,” do you be good enough to let yourself go.’ The infin,
‘does not depend on ¢gaow (for Kededworv), but quotes the
spectators’ own word, i.e. an infinitive-imperative like the
evar od following. Of. Vesp. 386, Nub. 850, Thuc. 5. 9 od dé,
KrXeaplia, aipyidiws ras midas dvolfas érexbety cal émelyeoBat,
Xen. Oec. 3. 12 wdvrws, & KpirdBoure, aradnbetoa mpos juds.
The force of such infin. is ‘be kind enough to. .’ etvar for
ddeivar belongs to the older language, surviving in a phrase of
the games.

134. drokécay av . . 800: playing on two senses: (1)

‘I should waste two brain-rissoles,’ (2) ‘I should dash out
the two lobes of my brain.’ A Opiov is soft or minced meat’

137—139 NOTES 107

fish, marrow, eggs, etc., seasoned, and wrapped and cooked in
fig-leaves. Hq. 954 dnwot Boelov Optov, Ach. 1101 Opiov raptyous.
They were delicacies, and Dionysus would not care to waste
a couple of them. The two halves of the brain in their
membranes suggest such pia. »

137. peyadnv . . wavv. After these words there is a slight
pause, and then &Bvocoy intensifies the previous description :
‘a lake—a very big one—bottomless.’ Exactly similar are
the position and intonation of dewdrara in v. 144. Herakles
is trying to frighten Dionysus. The boat is only a miserable
little one (wAourplw), ‘only this size’ (ruvvouvrwt, accompanied
by a gesture). Charon’s boat is a crazy thing in Verg. Aen.
6. 413. The lake is, of course, Acheron; cf. Luc. Luet. 3 7
"Axepovoia Niuvn mpdxertac mpwrn Sexouévyn Tovs dwayTovras, iv
ovK éve diamdedoar 7) mapedOety dvev Tod Topbuéws: Babeta yap
Tepdoat Tots Tool kal duavjgacbac mwoddAH, Verg. Aen. 6. 295 ete.
For the probable references to Athenian topography see Introd.
p. XXxiil. ;

139-140. avijp yépwv vatrys Sidfer: rather render ‘an old
man will carry you across as waterman’ than join dyjp yépwr
vavtns. For Charon’s age cf. Verg. Aen. 6. 304 tam senior, sed
cruda deo viridisque senectus.

$0’ 6Bord: (1) it might seem natural to explain that the
sum is for Di. and Xa. (since Herakles can hardly anticipate
the refusal of Charon to carry the latter). It is true that he
says ce. . dudéec and not fe, but Dionysus might ‘inciude’
his slave. Yet in v. 270 Dionysus pays r#Bod\w for himself
alone. (2) We may suppose that the usual fee of one obol is
here raised to two simply to introduce a humorous reference.
So Murray explains ‘Charon traditionally took one obol . .
But Theseus, the fountain-head of the Athenian constitution,
has introduced the two-obol system in Hades.’ (3) The two
fares to and fro may be combined (Merry, who quotes Apuleius
Met. 6. 18 in ipso ore duas ferre stipes of Psyche’s fare). This
is perhaps rather too much to extract from the words, and it
is not altogether likely that Dionysus would pay for his return
in advance and say nothing about it (270). (4) Perhaps a
du@Bodov (or dv’ 680\d) was sometimes treated as the proper
fee for Charon. (So the schol. here, but he is probably only
led to say this by our passage itself.)

It is certain that the davdkcn or xariripiov was commonly
regarded as a single obol ; cf. Luc. Luct. 10 éBoddv . . pucOdr
T® TWopHuet THs vavriXlas. Such an obol has been found in the
mouths of Greek skeletons. Juv. (iii. 267) has trientem. On

108 THE FROGS OF ARISTOPHANES = 141—145

the whole, therefore, the explanation (2) given above is most
probable.

141. as péya Sivac8ov x.7.4., ‘How mighty everywhere are
those two obols!’ (like the useful ‘threepenny-bit’). This
is said with special allusion to recent legislation introduced
(Arist. Const. Ath. 28. 3) by KXeopav 6 Avporrords, ds kal Thy
diwBeriav érdpice mpwros. The diwBerla is the fund (7d Oewpixdv)
from which were dispensed on each day of the Dionysiac
festival two obols to each citizen who claimed them. The
innovation is ascribed to Pericles on much later and weaker
authority (Plutarch and Ulpian). ‘The Diobelia appears in
the accounts for the first time in 410 B.c.’ (Gilbert, Greek
Const. Ant. Eng. tr. p. 343). The audience would readily
take the point, especially those who sat év rotvy duo dBodoty
(Dem. de Cor. § 28).

Besides the theoric two obols, that sum played its part
in other connexions. For example it was allowed as the
o.tnpéotoy (ration-allowance) for a hoplite (Dem. Phil. 1. 4.
28); it was sometimes pay for a seaman (Vesp. 1188); and it
was a common fee for seers and dream-readers (Vesp. 52).
But there is no proof that the pucbds dixacrixéds was ever two
obols, and the micOds ExxAnovacrixéds (which did take the form
of a diwB8orov for a time) was not yet instituted. We may
conclude that two obols represented the daily ‘living wage’
of an Athenian about the end of the fifth century.

142. Kkdketoe: cf. 77 (ExetOev), 82.

Onoevs. The two obols are a specially Attic institution,
and in Hades they are due to no less a person than the time-
honoured Attic hero. It is as if we accredited King Alfred
with the uses of the omnipresent threepenny-piece. Theseus
had helped Peirithous in his attempt to carry off Persephone
from Hades, and had been kept in durance there till delivered
by Herakles. Herakles can therefore speak personally of what
Theseus had done.

Hyayev: sc. av7d. Such an omission is not of the most
frequent ; cf. Hom. J/. 6. 124 ris dé ov éoor, pépiore, KaTabvynTov
avOpwrwy ; | od pwev yap mor dmwma (sc. oe). (Kihner-Gerth
§ 597. 2 b.)

144. Sevdrara: see 137 n.

tkmAnrre, ‘try to frighten.’ Goodwin, MZ. and T. § 25,
Gildersleeve, Gk. Synt. § 192.

145. BépBopov: burying in mud specially awaited the
uninitiated ; cf. Plat. Phaed. 690 8s av duinros cal dréXeoTos

146-151 NOTES 109

eis "Acdov ddixnrac év BopBdpw Keloerar. But the wicked in
general had a similar fate: Rep. 363D rods d€ dvoctous Kal
ddlikous eis mnddv Twa Karopttrovew év “Acdov, Luc. Alex, 25
épouevou yap Tivos rl mpdrre: év "Acdou 6 ’Emlxoupos ; ModvBéivas,
édn, éxwv mwédas év BopBdpw KdOnra. Vergil (G. 4. 478) speaks
of dimus niger in the locality here described. A similar notion
occurs among the punishments in Dante’s Jnferno.

146. kal oxdp delvwv, ‘and filth that ever flows’: an
obvious burlesque of something more dignified, e.g. tdwp delywv.

148-151. et mov .. éeypdyaro. The sins which merit this
punishment are those of the traitor, the wntpadolas and rarpa-
Aolas, the perjurer and—the admirer of Morsimus’ poetry.
All is delivered with great solemnity. We can have little
doubt that there was a well-known formula connected with the
less esoteric part of the mysteries, setting forth the chief
classes of sinners whom the pure and initiated will see punished
in Hades. From this source Aeschylus would draw (Hum.
269) his wy dé cel tis GAXos FrLTev Bporav | H Oedv H E€vov | rw’
dceB&v } Toxéas pidous, and Vergil his hic quibus invisi fratres,
dum vita manebat, | pulsatusve parens, aut fraus innixa clienti,
etc. (den. 6. 608). The humorous climax comes the more
effectively to the audience from their familiarity with this
section of the ‘ catechism.’

151. % Mopotyov tis k.t.A. The repetition of 7s has led
to the suggestion % et by Meineke. But with the distance
since the introduction of the sentence Greek did not feel the
awkwardness. Cf. Thesm. 335-345 ef ris émiBovdAever Te TH SHuw
kakov .. |. . # ‘mexnpuxedera | Evpurldy . . | 4 mwewroudvyn
Tus ayyenrlas Wevdels péper, | } uorxds el Tis ELarrara Wevdh r€éywr |
.. | ) OGpa ris Sldwor ypads x.7.d., Eur. Hec. 1178 e& tis yuvatkas
Tov ply elpnkey kak@s, | } viv Néywv Ths éorw.

_ Mopeipov: grand-nephew of Aeschylus and a bad poet of
tragedy. Various scholiasts call him zovypds, duerpos, dré-
Wuxpos ; cf. the terrible imprecation Hg. 400 ef oé wh puod,. .
didacKkolunv mpordbeww Mopcivov rpaywoiay, Pac. 801. He is
said, however, to have been a ‘ good eye-doctor’ (schol.).

éeypdparo, ‘(ever) got copied out’ (or ‘copied out for
himself’), An author ypdde, his amanuensis éxypdde, but
a person who makes or gets made a copy for his own use
éxypadgerat. So when one writes down for his own use what
another says ; cf. Av. 981 6 xpnopuds. . | dv eye mapa Ta1rdd\dwvos
é£eypavdaunv, Vesp. 5388 Kxal why bo’ dv AéEq 7’ GrdADs pynudovva
ypdwu “yo, Soph. Phil. 1325 xal rair’ émicrw kal ypddov
ppevav éow.

110 THE FROGS OF ARISTOPHANES = 152—155

152. éxpiv ye mpds tovrows Kel . .: brachylogic for éxpiy

. eiweiy xei. In usual prose perhaps we should have had
expiv wpocketoba TO kei . . For the conversational omission
of an infin. cf. 1279.

153. tiv muppixnv . . tiv Kwwyotov: the upplyn was a
quick dance in armour derived from the ancient war-dance,
and recalling the crouching, springing, bending aside, etc., of
actual fight (Plat. Legg. 815 4, Ath. 630 D).. Here the name
is applied to the song and music which the dance accompanies.

Cinesias was a dithyrambic poet of whirling words and of
ill repute, not only with Aristoph. (Av. 1372 sqq.) but also
with Plato the philosopher (Gorg. 501), Plato and Strattis
the comedians, and Lysias the orator (Ath. 551p). He was
remarkably thin (Ath. Z.c.), and that peculiarity is referred to
inf. 1487. The art. tiv must allude to a notorious composi-
tion invented (perhaps recently) by Cinesias.

154-157. The after-life of the initiated is described in terms
which (like those concerning the unblest, 148-151) belong to
the current exoteric doctrines of the wvcra. That there was
such a recognised account is clear from the similarity of this
passage to one in Pindar (Thren. fr. 1): Unto them shineth
the might of the sun, and in meadows of deep-hued roses is their
demesne, shaded with incense-trees and heavy with golden fruits.
And in horses and in games some take their joy, and some in
harps, and a perfume ts shed throughout that place delectable.
Cf. Verg. Aen. 6. 638.

It should be noted that Aristoph. ventures no travesty with
this. Nevertheless it appears very probable that in the words
domep évOade, in Ordcous cddaipovas avipav yuvaikay, and
especially in kpdtov yxeipav modtv, he is making allusion to
the festive audience in the theatre. When the chorus comes
in there will be xpéros odds in the shape of clapping. This
underlying meaning would be assisted by the actor’s gestures,
but is not inartistically pressed.

154. évredOev, ‘next.’

avAGv: in Pindar the Pdpuryé is played among the blest.
But the aids was used at the mysteries, and the choric lyrics
(which the wiora are to sing, 312 sqq.) are accompanied by
the flute.

meplecov = ‘will float around you’; cf. Soph. Ant. 1209 rg
0 a0Xlas donua mepiBalver Bojs.

155. das Kdddurrov domep évOdSe: the <vOadi of Meineke
is wrong. The meaning is ‘in this world,’ not ‘on this spot.’

156—166 NOTES | 111

The light of the underworld is for the most part only darkness
visible, but in the abodes of the blest there is bright day,
Adpares wévos dedlov (Pind. 7.c.), or, as Vergil expresses it (Aen.
6. 640), Zargior hic campos aether et lumine vestit | purpureo,
solemque suum sua sidera norunt. So inf. 454 pdvois yap jyiv
Hrvos | kal péyyos ihapdv ~orw.

156. pvppwavas: Pindar has gowixopddas 7’ evi Newdveoor
mpodorioy avray Kal uBdvy oKxiapdrv Kal xpvoéots Kaprrots BeBp.Ods,
and Vergil (/.c.) speaks of locos laetos et amoena vireta | fortuna-
torum nemorum.

157. avipav yuvatkav: i.e. dvdpav cal yuvarxdv. Such
asyndeton is not very frequent in comedy ; yet cf. Ach. 625
mwrew ayopafev, inf. 861 ddxverv daxverOa. In Vesp. 1081
av ddpe av dowids is an echo of tragedy. For the latter cf.
Soph. Ant. 1079 dvdpev yuvarkav cots Sduos kwxvuara, Aesch.
Eum. 1028 ratdwv yuvaker.

159. vij tov Ala . . puoripia, ‘(talking of mysteries) I, at
any rate, am playing the donkey’s part at them.’ yotv=
‘true, so far.” There was a sarcastic proverb évos dyer uvorijpia,
derived from the fact that the sacred utensils were carried from
Athens to Eleusis by donkeys, whose only part in the cele-
‘bration was the hard work. There is a play on the senses of
diyew : (1) ‘keep,’ ‘celebrate,’ as in dyew éopriv, (2) ‘bring,’
‘carry’ (like vijes péprov dover, an old use, generally replaced
by ¢épev, but retained in an old saw). The modern coster’s
donkey similarly has his ‘day at Epsom.’ For the form of
expression évos &yw «.7.A. cf. Lys. 695 derdv rixrovra KdvOapd6s
(ce) waedoouwat, Cephisod. (Com. Frag. ii. 883) éya dé rots Nyos
dvos Youn, Verg. Hel. 9. 36 (videor) argutos inter strepere anser
olores, Cic. de Or. 2. 57. 233 docebo sus oratorem.

160. tatra, ‘this baggage.’

Tov mielw xpdvov: not a rare use of the article with ypédvos ;
ef. Thuc. 4. 117, 5. 15, Aesch. Ag. 626 és rov rod. .
kaprovo@a xpéivov. The time which is yet to run on is set
against e.g. rov méxpe viv xpdvor. .

[These two lines are an aside, and do not interrupt Herakles.]

161. 8éy: 2nd pers. of Séowac (cf. 110) rather than 8rd
from de?,

164, kal yxatpe, ‘and so, good-bye.’ yatpe can be used
both at meeting and parting (salve and vale) =‘ good-day,’
while tyiawe commonly=vale, and was generally restricted
to that sense.

166. mply Kal Karabéc Ban ; ‘before I have so much as got

Lie THE FROGS OF ARISTOPHANES 166—174

it down?’ Xanthias is annoyed at the small respite he has
had, and speaks hyperbolically.

pévrou: of affirmation (uév ro), ‘certainly,’ ‘I’m telling
you’ (cf. 171); a frequent use in both positive and negative
sentences.

167. pt 540’: sc. roiro elas (Kedevons).

168, tTdv éxdepopévav: éexdopd is the common term for a
funeral.

Saris: not ds, since one of a class is meant, not a definite
person.

: él todr’ pxerat, ‘is on that errand,’ or ‘has that (express)

object’; sc. to visit Hades (not 7d éx¢épecOar). The phrase
él rodro (or 7dde) EpxerPar should be recognised as correspond-
ing to the Latin id (hoc) agere. For the rather vague reference
of rotro cf. 358 Bwuoddxos érecw yalpe ph ’v Kaipy Todro
moovow (id agentibus), and for the particular expression Eur.
Bacch. 967 Al. értonuoy bvta maow. IIE. émi 768’ epxouae
(‘that is my object’), Xen. An, 2. 5. 22 adda rh 54, duds ékdv
“dmokéoat, ovx ért totr’ #AOouev ; (‘why did we not make it our
business ?’)

169. tore ps’ dyew, ‘then take me’ (Mss.) and tér’ &y’
dyew (Bergk) are equally possible, but there is no superiority
in the latter.

dyew: either as imperat. (cf. eva: 133), or we may supply
kehevw from ixeredw (167) despite the intervening plcOwoat

170. [The bearers and corpse are a rapaxopiynua or mapa-
oxjviov (the proper term is disputed ; see Dict. Ant.).]

tovrov(, ‘a corpse yonder.’ [The reading of the best Mss.
is better than Elmsley’s tw’ éxdépovor. The sense is ‘for
certain persons are carrying a corpse yonder’=‘for yonder
are certain persons bearing a corpse.’ ]

172. BotAa: not=ééres, but ‘do you want. .?’
oKevapia, ‘a bit of baggage,’ depreciating the amount.

173. tedets: either present (‘are you paying?’), or, less
vivaciously, future (cf. 176).

174. imdye0’ ipets ris o800. He turns away from Di. to
his bearers ; hence dyes, ‘get on, you men!’ This sense of
vmdyew is frequent. The gen. is strictly partitive (‘some of
the way’); cf. Xen. An. 1. 3. 1 odk @pacay idvac rod mpdcw,
Herod. 8. 105 rpodauBdvew ris 6500, Soph. Aj. 731 dSpapyotca
Tov mpoowrdrw. [Not ‘get out of our way,’ which makes a

175—181 NOTES 113

doubtful construction and takes from the contemptuous in-
difference of the corpse. ]

175. ® Saipdvie: expostulatory, as often in Plato.

éav EvpBS, ‘in case I can come to terms’; cf. 339, 1517,
Thue. 2. 5 \6ywr rp@rov yevouévwr, Fv Te EvuBalywper.

177. évvé’ 6BoAots: a drachma and a half, as a compromise.

avaBioiny, ‘strike me alive (if I will)!’ Being dead he
cannot say the usual dro@dvoius or droXolunv.

180. adm, tapaBadod: the voice of Charon is heard, and
the boat comes into sight immediately afterwards. We may
suppose that some sort of boat enters the orchestra on rollers,
and that at v. 270 it is withdrawn in the same fashion. The
change of scene, if not wholly imagined, would be produced
by a change of the painted hangings which hung upon the
temporary wooden structure (mpockjviov) serving as_ back-
ground. Possibly the aepiaxroc may already have been used
as the easiest way of suggesting new surroundings. It should
be noted that the change would occur at v. 184. Here there
is not sufficient pause even to prevent the line from being
metrically completed by the new speaker.

dm. In v. 208 wéz, dr is used in setting the time for rowing.
wér cannot therefore be limited (with schol. on Av. 1395) to
the stopping of the rowing (i.e. = ‘easy!’ or ‘avast!’). Atv.
208 (q.v.) a schol. calls it éXarexdv éripOeyua. There is
nothing in the passages containing #ém to show that it was
more than neutral, i.e. a xéXevua calling attention, but depend-
ing for its application on the circumstances or attendant words.

TwapaBadod: lit. ‘bring your boat alongside (i.e. to shore).’
The middle may be used without an object (cf. 269) or with
one (Hq. 762 rhv dxatov mapaBdddov). In the former case we
may either supply 76 wAotov or regard the verb as intrans. (cf.
the act. wapaBddAecv). The use of the middle is due to the
reflexive sense implied, viz. ‘bring yourself (in your boat)
alongside.’ So évrifecOa, é&aipetcOac regularly in regard to
goods in one’s own ship. Charon is apostrophising himself ;
there is nothing unnatural in a boatman, as he reaches shore,
singing out ‘Easy! lay her to!’ [The notion that he has
another person assisting on board is contrary to the legends of
‘Charon, is dramatically inconvenient, and leaves no reason for
the subsequent treatment of Dionysus. ]

181 sq. Atuvy vi Ala | atryn’ ory hy k.7.A., ‘why, this is a
lake, one which’ . . (not ‘the lake’). atry by attraction for
rovro, according to the common, but not invariable, practice.

I

114 THE FROGS OF ARISTOPHANES —182—185

(Kiihner-Gerth i. pp. 74 sq.) Cf. Mud. 200 ZT. ri yap 758
éotiv ; elmé wow. | MA. dorpovoula péev adrni.

182. fv ebpate, ‘which he was telling us about’ (Hibernice,
‘was after telling us of’). Cf. 275 ois &\eyev, Plat. Phaedr.
230 A ot rdde Hv 7d dévdpov, ep’ Brrep fryes Huds; so Verg. Aen.
6. 160 multa inter sese vario sermone serebant, | quem socium
exanimem vates . .. | diceret.

184. xatp ® Xdpwv: for the three mpoopbéyuara see 37 n.
The schol., on the authority of the ancient grammarian
Demetrius, says that the line is taken from a satyric play of
Achaeus. If so, Aristoph. is deriding it, after the manner
in which Thomson’s ‘O Sophonisba, Sophonisba, O!’ was
ridiculed.

185-187. tis els dvatravAas k.t.X. These lines are evidently
‘a parody of the cries heard in the Attic harbours when a boat
or ship was about to depart and was ready to take passengers
(e.g. for Salamis, Aegina, Epidaurus, and farther). They
correspond to the old London calls of the omnibus-conductors,
e.g. ‘Who’s for the Bank?’ ‘Who’s for Blackfriars’ Bridge ?’
First comes the general destination of the boat to the places
‘where the wicked cease from troubling and the weary are at
rest’ ; then some of these are enumerated. In all probability
there are puns upon the names of places familiar to the
audience. It is of course rather hopeless to guess what these |
were, since it is part of the humour of Aristoph. to jumble in-
congruously the names of foreign parts, Attic demes, ete.
Moreover a Greek pun is very elastic. Murray ingeniously
suspects that in A7ns mediov, dvov méxas, Taivapov we have a
reference to ‘a proposal, by some member of the war-party, to
take the offensive against Sparta by sailing round the Laconian
coast—as Tolmides had done—and landing at Aevxns medlor,
"Ovov T'vd6o0s, Talvapov.? Without being too definite it appears
highly probable that the (otherwise strange) addition of Taivapov
is justified by some contemporary circumstances. That word
then becomes a revealing mapa mpoodoxiay, the other places
being imaginable localities in Hades itself. We may render
‘Who’s for’Peace-and-Quiet, Oblivion Plain—or Cuckoo’s Nest ;
for Deadman’s Rest—or the Deuce—or—Taenarum ?’

Perhaps as an alternative suggestion to that of Murray, it
may be guessed that, in the present acute stage of Athenian
troubles (kaxd kal mpdyuwara, and see Introd. p. xxiii), there
were those who, being (like Dionysus) faint-hearted, had
mooted some project of leaving Athens for a new home (as
many of the Phocaeans left Phocaea for Corsica Hdt. 1. 165,
and as some Athenians proposed at the time of the Persian

186—187 NOTES 115

invasion Hdt. 8. 61). Perhaps various places, mostly distant,
were suggested and Aristoph. satirises the notion as visionary
and impossible ; to him such places are but A7@ys mediov and
“Ovov méxes—in fact to go to them is to go és képaxas. See the
following notes.

186. A7Oys med{ov: the first region across the lake in the
topography of Lucian (Luct. 5 repawévras d€ tiv Nuvny és 7d
elow Neu UrodéxeTat péyas, TH aopodérXw KaTaduTos, Kal trorov
pvhuns todk€usov. AnOns yodv dia TotTo wvdmacra). Plato (Rep.
621A) also calls it wediov ; Vergil (den. 6. 709) has campus,
his topography, however, being different. [There is no river
Lethe in classical Greek. |

# eis: with synecphonesis; not 4’s, since és is not used
before vowels in comedy.

dvov mékas: dvov méxes (or mdxor, a form méxac being very
doubtful) is among Greek expressions for the futile or ayn
possible, xelpew dvov being as much a waste of time as mAlyGor
wrivew, aoxoyv Ti\rew (Phot. 338. 8). It is to be observed that
one use of AnOys medlov also is as a proverb éml tay dduvdtwr,
and the line may therefore be understood as és 7d AnjOns rediov
—% eis dvov moxas; i.e. ‘Who is for Lethe Plain?’ and then,
in a sort of aftertone, ‘or (for the matter of that, any other
impossible region, say) Donkey Fleece’ (which according to
Zenobius 3. 8 also belongs to 7a dvjvura). Exactly in the same’
tone he adds—% ’s xépaxas after 4 eis KepBeplovs. [Nothing is
gained, and probably something would be lost, by reading
Bergk’s”Oxvou roxas. ] |

187. KepBeplouvs: ‘the deme of Cerberus,’ but with an
allusion to the Kep@épio., another name for the Kiumépioe of
Homer, actually read by certain ancient critics (e.g. Crates) in
Od. 11. 14. Sophocles seems to have had the word in this
sense (fr. 957N). To the contemporaries of Aristoph. the
Cimmerii would suggest the eastern Crimea, and it is con-
ceivable that would-be emigrants had thought of the Euxine.

%°s k6pakas : partly prompted by the alliteration, but also
emphasising the ‘ very mischief’ of the Utopian scheme.

187. 4 mi Talvapov. It is true that a cave at Taenarum
was regarded as one of the entrances to Hades (ef. Verg. Georg.
4, 467 Taenarias etiam fauces, alta ostia Ditis, |. . ingressus
Manesque adiit regemque tremendum). Through it Herakles
had brought up Cerberus. But that point is surely irrelevant
to Charon’s boat, which is not proceeding thither. Establish-
ment of Athenians at Taenarum may very well have been one

116 THE FROGS OF ARISTOPHANES 188—192

of the proposed impossibilities (and ‘the deuce’) ridiculed by
the poet.

188. wot oxhoew Soxets; ‘ Where do you think of putting
in?’ Thucydides frequently used cxeiv (with és or less often
the dat.) in this sense (appellere). Cf. mpoocxeiv, xaracxeiv.
The better Mss. give zo’, others ot, which at first sight looks
necessary. It is, however, common enough for a Greek verb
implying previous motion to be joined with the adv. of rest,
when the motion is supposed to be already completed. Thus
Lys. 1230 ravraxod mpecBevoouer, ‘we shall (go and) act as
ambassadors everywhere,’ Thue. 3. 71 rods éxe? xararepevydras =
‘those who (had fled into and) were in exile there,’ Soph. 7'rach.
40 87rov BéBnxev ovdels olde =‘ where he (has gone to and) is.’
So here: ‘where will you (get to and there) find a destination 2’
Kiihner-Gerth i. p. 545.

191. et pr vevavpaxnke k.T.A.: unless he fought at Arginusae .
(33). The perf. (rather than évavudynoe) = ‘unless he is a naval
hero.’ tiv wept k.7.X., sc. wdxnv or vavyaxlay. In such ellipses
it is generally easy to supply the particular feminine verbal
noun (d06v, waxnv, WHpov, wrny7Hv, etc.), e.g. Hg. 50 éxdtxdoas
ptav (sc. dikynv). The omission of a masc. is less common, e.g.
Luc. Dial. Mar. 2 ws Baddv éxouundys (sc. trvov) and the
proverb 0 A\ayws Tov wept Ta KpeGy TpéxeL (SC. Spduov or ayava).
_ The latter explains our passage. When the hare runs for his
life (to ‘save his bacon’) he runs wepi rév xpeGv. The phrase
is an old colloquial and facetious application of an earlier literal
meaning, ‘to run for the meat-prize’ (aepi of the prize at stake).
The meat at stake in the case of the animal is his own; hence
wept Tav Kpe@v=mept THs Wuxis. Thence proverbially of the
human being. At Arginusae the Athenians were fighting for
their very existence, and Aristoph. is not afraid to confess it.
With the form of expression cf. Vesp. 376 rév repli Yuxijs Spdmor’
Spauetvy, Hdt. 8. 74 wept rot mavrds Hdn Spduov Odovres, Kur. Ei.
1264, etc. [The reading of a certain Ixion, recorded by Photius,
viz. wept r&v vexp&v, is absurd. There was no fight ‘for the
(unrecovered) dead.’ More untenable still is the notion that in
kpeOv the comedian is playing upon the sense vexpav. This is
not only open to the previous objection, but it outrages
Athenian sentiment, which was very sensitive in this particular
matter. ]

192=o00 yap (évavpaxynoa or vavpaxetvy éSvv7Oyv), GAA’
érvxov k.t.A. This is the usual analysis of the phrase. But od
yap ad\\d has passed beyond the stage of strict analysis. See
58 n. and cf. 498, 1180, Hg. 1205.

opbadprdy. Diseases of the eyes were common in Greece,

194—196 NOTES 117

as well asin Egypt and the East (cf. fr. 181 Dind.), and such
ailments afforded a ready excuse for cowards and malingerers.
They could doubtless be produced artificially (like the thumb-
less condition of the modern conscript). For the malady itself
among soldiers cf. Xen. Hell. 2.1.3. In Hdt. 7. 229 two of
the Spartan 300 are disabled by ophthalmia, but one insists on
being led by his helot into battle, while the other, Aristodemus,
returned to Sparta, where he was disgraced and nicknamed 6
tpéoas. [It is more natural to suppose that Aristodemus was
accused of an old malingering trick than that the trick was
considered to date from him: nevertheless his case probably
became proverbial throughout Greece. ]

194. mod Sir’ dvayzeva; There is something sufficiently
humorous in this naive burlesque of the Niuvn peyddn wav
and the traditional necessity of crossing it. After all, you can
_ run round it, if you like. In the theatre we are to imagine
Dionysus working his passage across the orchestra in the roller-
boat, while Xa. runs round and sits down. Note also the
sarcasm in dvauev@: he will have to wait for them. The Attic
comedians frankly convert their own (obvious) stage-devices
into a joke. Cf. Pac. 174, where a character begs the stage-
engineer to be careful, and fr. 234.

mapa tov Atatvov A{Gov. The accus. is used after apd,
even with an apparent verb of rest, when the sense is ‘near,’
‘about’ (¢wata) and a certain extension is given to the space
occupied or moved in. Cf. Xen. An. 7. 1. 12 ’Eredvixos elorhxer
mapa Tas midas, Hdt. 4. 87 otros xaredelpOn mapa riv vor.
The special point of Avaivov is probably lost. It is obvious
that there are contained (1) an execration in the imperat.
avalvou (‘be shrivelled !’), in answer to the sarcasm of Xanthias:
_ (2) a reference to some stone in the theatre, beside the orchestra,

to which Charon naively points (‘go and stop over there’).
Among the seats to the right of the priest of Dionysus in the
front row, there was one of the ‘stone-bearer’ (Haigh, Ait.
Theat. p. 310). We know nothing of the stone in question,
but we may venture the guess that it is here referred to, Nor
is it out of the question that the stone-bearer on this occasion
may actually have been named something like Avawos. With
this direct allusion must go the consideration that distinguish-
able stones, placed by nature or man, often existed as landmarks
and rendezvous, e.g, LevAnvod Aidos (Paus. 1. 23. 5). We may
further suggest that the dvdmavAat are actually the resting-
places for the chorus, to which the dancers retired beside the
orchestra when they were not engaged in performance.

196. t@ Evvérvxov éEidsv ; ‘ What (unlucky thing) did I meet

118 THE FROGS OF ARISTOPHANES = 197—202

with when I was coming out (this morning)?’ The ordinary
Athenian was even more superstitious than the modern believer
in signs and portents. Only superior minds and sceptics
derided the decrdarmovia described by Theophrastus (Char.
16, where, for instance, a weasel runs across the road). Of
particular significance were these évéd.0. ciuBoru (Aesch. P. V.
503). Horace (Od. 3. 27) gives specimens. At a later date
Lucian (Pseudol. 17) speaks of the terrors caused by what one
sees evOus éficw rijs oixias. The first sight is the most important
of all: cf. Plut. 41 8rw Evvayrjoayme mpGrov esusv.

197. el ris émumAet?, ‘if any one is (to be) a passenger.’ The
change to éru wAet is a mistake. ézum)et is the proper word of
those who sail on a ship ‘in addition’ to the crew (who m)éovot).
Thus it is used of the soldiers carried. by the ships in Hadt. 7.
98. 184 and Thuc. 2. 66. In Demosthenes and elsewhere it is
used of asupercargo. The natural Greek for a captain’s phrase
‘we had a passenger on board’ would be jut érérde.

198-199. otros, rl movets; K.7.. Charon has looked away
while delivering his call. He now turns and sees his passenger
sitting down on an oar. Dionysus has chosen to interpret éml
Kony ‘to an oar’ (cf. Hom. Od. 12. 171 of & én’ éperpa |
egduevor) aS ‘on an oar,’ and has acted accordingly. In the
latter sense é7i with accus. follows the idea of motion: cf. Nwb.
254 KkdOcge rolvuy éri tov tepdv oxiuroda, inf. 682. tw is not
‘I am sitting,’ but ‘am taking a seat.’ [xw2nv without article
is ‘an oar,’ but it is natural to suppose that Charon’s xd@c¢’ émi
kwrnv was an old phrase (‘sit to oar’), dispensing with art.
after prep. (cf. émt Sdpuv, ém’ domida, és xetpas, mpos viv).
Dionysus pretends not to understand nautical terms. |

198. 8 ti wows; Where the person questioned repeats the
question, he regularly (though not always; cf. Av. 608, 1233,
ete.) uses the indirect ders, émotos, etc. in place of the direct.
We must supply the thought thus: XA. rf mois; AT. (€pwrds)

8 Te Tow ;

vi 8’ dAdo y’ H. .: 88 (like Fr. mais) is used in questions
with a touch of remonstrance ; cf. Vwb. 1495.

199. t{w. The simple verb is rare in Attic, but, as there is
no special excuse for it here, it must have been recognised ;
ef. Epicr. fr. 3 émi rods vews tfovor wewavres Kaxds.

ovmep: see 188 n. éxéeves: for the tense cf. 182,
but in xeXevey it is almost the rule.

202. od ph ddvaphoes . . GAN Edas: cf. 462, 524, Eur.
Bacch. 343 od ph mpoooloes xetpa, Baxxet’oers 8 iv, | ud?

202—204 NOTES ¥E9

éfoudpén pwplay rhv onv éuol. Goodwin, M. and T. § 298. The
simplest explanation of the construction is that in full it would
be ov (Séos éorl) uh Pr., GAN é€AGs=‘ there is no fear that you
will keep on playing the fool, but you will row.’ There is no
question, but an assertion. The full expression is found in e.g.
Plat. Ap. 28B ovdév dewdv ph ev euol orp, Xen. Mem. 2. 1. 25
od pbBos un ce aydyw. [Words of fearing are followed by pi
with fut. in the sense ‘fear that one is going to . .,’ and with
subj. in the sense ‘fear that one may ..’ Hence there is no
other distinction between ov uh romjoes and ot uh mojons. In
other words, the former in effect=‘ you shall not’ and the
latter ‘you wild not’ or ‘cannot,’ the former being thus the
more determined and emphatic. If now a positive assertion
of what is to happen in the future is to be joined to the neg.
ov wh tojoes, it is connected by dda (sometimes dé), but is
independent of the od uy. When another clause reverts to the
neg. (asin Eur. /.c.) it is naturally connected with the od uy
clause by unde, the intervening clause being parenthetical. ]

drvapyoes txwv, ‘keep on playing the fool,’ éywyr (like
pépwrv, \aBdv) being joined to verbs as an expletive, particu-
larly to those of wasting time; cf. 512, Nub. 131 ri ratr’ wv
otpayyevoua; LHecl. 1151 ri dfjra diarpiBes éxwv ; Theoc. 14. 8
matodes, Gyd0’, éxwv.

avtTiBas: pushing against the stretcher.

203-205. Kata . . er: the first «fra introduces the
Cae NOES question, the second= ‘in such case’ (‘ neverthe-
ess’).

204. darevpos k.7.A., ‘unskilled, un-sea-sonedand un-Salamised’
(Lowell). The three privatives in d- represent a‘poetic habit
which Aristoph. parodies; cf. Aesch. Cho. 53 duaxov addmarov
dmédenov, Eur. Hec. 669 darais dvavdpos drods, Soph. Ant. 1071
duotpov axrépiorov dvdo.ov. So in English, Milton P.L. 2. 185
- unrespited, unpitied, unreprieved and 5. 899 unshaken, unseduced,
unterrified. Nor is it unknown to oratory, e.g. Dem. Phil. 1.
36 drakta adiipOwra dépiora.

We need not press the possible differences in the meaning
of the three words, but roughly they correspond respectively
to a liability to clumsiness, sea-sickness, soreness. ‘That the
last is one sense at least of doadaplvios is made probable by
iq. 785 iva ph rpiBys rhv év Dadauin. At the same time there
is a reference to (1) the battle of Salamis, of which the
Athenians were never tired of hearing; (2) the Salaminia, or
state mission-vessel, in which only good oarsmen could row ; (3)
the seamanship of the islanders of Salamis (Zcc/. 39), numbers
of whom would be in the theatre.

120 THE FROGS OF ARISTOPHANES ~—= 205—209

[Commentators generally consider that Di. is throughout
the play meant for an embodiment of the easy-going and (as
Aristoph. considered) not over-intelligent Athenian public, and
that the present lines therefore glance at the decline of the
Athenian navy. ] .

205. akovoe yap péAn K.T.A.: ie. you will work more easily
to music (cf. marching to the band). There is nothing said
about seeing the frogs, and it is an error to suppose that they
actually appear. Their croaking and singing were performed
from behind the scenes by the persons who are afterwards the
chorus of uwicra. They are, therefore, not a rapaxopnynua, since
they imply no additional equipment. For the title Bdrpayou
given to the play see Introduction p. xxvii.

206. éuBddys, ‘lay on’ (=‘get to work’). It is usual to
supply ras xelpas 7TH kway, but ras xetpas should not be in-
cluded. éu@dddew is intrans., as in Hom. Od. 10. 129, and the
sense is that of Vergil’s incumbite remis. The absolute use,
as here, occursin Xen. Holl. 5. 1. 13.

207. Barpdxwv kixvov: cf. the combinations np Aéwv, dpris
dnduv, Bods ravpos, avnp movnrhs, in which one noun in apposition
defines or limits another. So in comedy &vOpwros bpyis (Av.
169)=‘a man-bird,’ xdundrov duvdv (ibid. 1559)=‘a camel-
lamb.’ Here ‘frog-swans’ are frogs which sing like swans,
lit. swans which bear the shape of frogs.

KkarakéAeve 84, ‘well then, begin to set the time.’ The
keXevoTys is the officer (‘boatswain’) whose xéAeva (wWdm, dr)
conducts the rowing, while a rpenpavAns plays an inspiriting
accompaniment on the avAds. Cf. Plut. Ale. 32 addeiv pév
elpeclav Trois éhavvovot Xpvadyovov, Kedevew 5é€ Kadderridnv. In
Latin the xeXevorhs is hortator and his position and function
are described in Sil. Ital. 6. 80 mediae stat margine puppis | qui
voce alternos nautarum temperet ictus | et remis dictet sonitum.
One sound é7 was meant for the forward and one éz for the
backward stroke, w- being introductory.

209. Bpexexexté «.7.A. : a sound commonly heard from the
frog in Greece. The sub aqua sub aqua of the Latin (Ov. Met.
6. 376) represents a different hearing of coat xod§ (=co-ahsh
co-ahsh). One Australian frog says (according to the aborigines)
Dugultik, but another has a more continuous sound, which
answers very well to the spelling of Aristoph., if we read it as
w-r-r-r-ek-ek-ck-esh. In the absence of digamma from Attic
8 is the nearest approximation to the w-sound. The termina-
tion in kodf meanwhile suggests the human PaBaidé, rummdé,
waé, ete.

211—216 NOTES 121

[The frogs begin slowly, but get too quick for Dionysus.
The increasing rapidity appears in the metre. ]

211-220. Awvata Kpyvev rékva «.t.A. The fun of this
passage lies in the incorporation of individual words and whole
phrases taken from a serious lyric poem and partly applied
humorously, partly burlesqued by the inclusion of e.g. kpawra-
Adskopos in place of a compound of more dignity. The frogs
are proud of their own singing, and after the self-complacent
. edynpuv éuav (‘the singing for which I am justly famous’)
they give a striking specimen in a harsh ‘Kod koaé.’

One may suspect (from xixvwy 209) that, in the original,
swans were the subject, and that the details are travestied just
enough to suit frogs. This would add point to \wuvata réxva,
e’ynpuvy, and the delight of the Muses and Apollo in the
singer. Also the whole passage 242-249 gains new significance
when it is retranslated into its original application to the
CYGNUS MUSICUS.

[Something of the tone may be retained in a rendering—

Come, children of the fount, folk of the lake,
Let us awake ~
And tin its fullest sweetness loud upraise
Our hymn of praise
—Codhsh ! Cochsh !—
The hymn of Nysa’s story,
Of Dionysus’ glory,
The same we carolled in the Marsh that day,
When on the Feast of Pots
The noble throng of sots ;
Through my demesne with headaches wends tts way: |

211. Auwvata . . rékva. In the pseudo-Homeric Batracho-
myomachia 12 the frog is Nuvoxapihs rodkvgypos.

215-216. apdl, ‘in honour of.’ Hymns and dithyrambs
often began with a promise, or an appeal to the Muses, to sing
concerning (du@i) a god or hero; cf. Hym. Hom. 21. 1 audi
Tloveddwva, Oedv péyav, dpxow’ deldev, 18. 1 dudl wo “Eppaiao
gpirov yévov évvere, Motoa. So in tragedy Eur. 77o. 511 audi
pot “IXov, & Movoa, . . dewov.

Nvuojiov Avds Atdvvoov: with an eye to the imaginary
derivation Avé-vvoov ; cf. Apoll. Rhod. 2. 905 Avs Nuojioy via.
As Merry remarks, ‘it is impossible to localise Nysa.’ Dr.
Jane Harrison (Proleg. to the Study of Gk. Relig. p. 379), after
observing that Homer’s Nuojov was in Thrace—with which
region the worship of Di. was originally connected—says ‘as

Fy iBRARy
OF THE

122 THE FROGS OF ARISTOPHANES 21y—224

the horizon of the Greeks widened, Nysa is pushed farther
and farther away to an ever more remote Nowhere.’ It in
fact recedes from Thrace to Asia Minor and thence to India or
Libya.

217-219. Atuvatow: not Aluvacow, which would be point-
less (especially after \uvata). Aluvac was the low-lying portion
of SE. Athens in which stood the old temple of Dionysus, and
north of which the great theatre was built in the next century.
Cf. Dem. Weaer. 1370 év r@ dpxaordryw iepG tod Avovicov . . év
Atuvas, Isaeus 8. 48, Thuc. 2. 15 7d év Aiuvais Atovicov, w Ta
dpxatdrepa Aroviowa trovetrac év pnvi ’AvOeornpiavr. For the
reference to the Anthesteria (in Xvrpoor) see Introd. p. xxxil.
That festival lasted for three days, called respectively Il@ovyia,
Xdées, XUrpor. On the last the drinking excesses of the previous
day would have rendered the procession kpavraddxwpos.

iaxjoapev, Hvika . . xwpet. There is no real difficulty in
the tenses. lax7joapuev cannot indeed be gnomic in the rel.
clause, and can only refer to a past act; ‘we gave it loud
utterance,’ i.e. once, when we were frogs on earth (cf. 244).
For the rest jvika xwpet = ‘at that time (of the year) when the
crowd is wont to go.’

épov tésevos: humorously of the marshy ground. Aadv
in plur. (cf. dxovere eg) dated from the time before the closer
unification of the Athenian és, and was retained in certain
formulae and phrases.

On the day of the Xvrpo there were dyaves and the 8xXos
would naturally pass to them by way of the Aluva:

221. éyd 8€ «.7.A.: Dionysus half sings this in irritated
mimicry of the frogs.

222. ® Koak Kodé, ‘my friends (or ‘Messrs.’) Coahsh
Coahsh.’ The comedian Alexis uses a similar turn ov’yi Trav
petpiov . . GAG Tov BaBal BaBal (‘those who are always
exclaiming BaBat’).

226. avro xodé. It may be noted that this circumstantial
or comitative dat. with avrés is used in comedy with or without
article in both sing. and plur., but only of things ; in tragedy
only in plur., but of both persons and things (Starkie on Vesp.
119).

227. ovdév yap éor’ GAN 4. . : cf. Lys. 139 oddév ydp éopev
trHY Mocedav kai cxddn, fr. 25 yépovres obdév Exper XO HV
bxAos. The latter example might seem to point to the more
logical &\Xo here rather than dda, but oddév G\\0 F#.. and
ovdeév ddXo, dAAA . . overlapped each other and caused a con-
fusion of expression (Kiihner-Gerth ii. § 534. 6). [Though it

228—230 NOTES 123

must be remembered that accents were not in use in the time
of Aristoph., and that we have, therefore, to rely upon later
tradition, confusion of expression is clear in mAyv dANa . . and
mryv 7... Also &ddXo H could not directly give us e.g.
mnderépovs déxecOar adr’ H wig vyl (Thue. 3. 71), and it is
clear that, however accentuated, the combination has become
simply=7)\jv. We may, therefore, very well accept aA)’ 74 as
the probable accentuation. |

228. eikdtws, ‘I have good right to sing’ (for the reasons
next given).

ToAAG mpdtrev, ‘meddler.’ Cf. rodvmpayyovety and Eur.
Hipp. 785 76 moda mpdrrev ovK év dopane? Biov.

229. torepav: gnomic.

229-233. etAvpo. . . KarapdhOoyya . . doppikras. The
deities to whom these words belong are all indebted to the
frogs, who are the proper owners of the water-side and look
after its products, especially the reed. xddapor were used for
making the pan-pipe, and dévaxes (a smaller species, but not
always distinguished, see Hymn. Merc. 47 dévaxes kadduoro)
for forming a bridge or fret across the hollow tortoise-shell of
the lyre. Over this bridge the strings were drawn from the
bottom of the shell to the fvyév. This is the account in Dict.
Antiqg. But Hymn. Mere. l.c. implies that the reeds were
fixed across the shell to serve as a foundation for a drum-like
skin. Fritzsche quotes a frag. of Sophocles dpnpé0n cov kddamos
womepel Avpas, which illustrates the use of the xddapos but
leaves its application indefinite.

There were two chief forms of stringed instrument, the pa
with its oval tortoise-shell and curved horns (myers), and the
kiOdpa, a wooden case, more quadrangular, with hollow project-
ing arms instead of the mye. The pdpuryE is commonly
identified with the latter, or regarded as a particular species
of it. Nevertheless its sounding-board can be referred to
equally as droXvpiov (adj. ).

230. kepoPdras: lit. ‘going upon horn’ =cornipes, ‘hoofed.’
Pan is called aiyiBdrns (Theoc. ep. 18. 6), alyirddns (Hym.
Hom. 19. 2), rparyérous (Simon. fr. 33). Horace (Od. 2. 19. 4)
has capripedum Satyrorum. The schol. also records the title
TpayoBduwy. [Other scholiastic explanations ‘horned walker’
and ‘walking on the mountain peaks’ are fanciful, and the
former practically impossible. ]

kadapdp0oyya: contained accus.: cf. Pind. 0. 18. 123
évorhua talgew, Verge. Georg. 4. 565 carmina qui lusi pastorum.
The favourite instrument of Pan was the cipuyé (fistula) made

124 © THE FROGS OF ARISTOPHANES = 230-261

of seven xdAamor or Sévaxes cut in unequal lengths so as to form
an octave. These were fastened together with wax and the —
whole was then bound round, cf. Verg. Hel. 2. 32 Pan
primus calamos cera coniungere plures | institutt.

twal{wv : pastoral minstrelsy was regarded as sportive and
without pretentions to the higher art and themes of the harp.
So Verg. Hel. 1. 10 ludere quae vellem calamo permisit agresti.

242-249. el 89 wor’ .. The habits of frogs are described
in Ov. Met. 6. 370 sqq. twvat esse sub wndis | et modo tota cava
submergere membra palude, | nunc proferre caput, swummo modo
gurgite nare, | saepe super ripam stagni consistere, saepe | in
gelidos resilire lacus, etc. The notion of their escaping from
the rain is a humorous misapplication of the original. In
[Pseudo-] Plat. pig. 5 we have rov Nuudav Oepdrovra, piddu-

Bptov . . Barpaxovr.
243. kutelpov, ‘galingale.’ déw, ‘rush.’

244. twohkvkodkupBAToWoL: we may perhaps render ‘many
and divers strains.’ In the original here parodied the word
may have been e.g. moAvkdumroo. The variations on the
song are played by diving. |

246. Avds 8uBpov: a frequent expression of poetry, since
Zevs ter (Alcaeus, fr. 34).

247 sq. xopelav . . épOeyEdperba, ‘we sang a dance,’ i.e.
_ the dance-music. According to Plato (Legg. 788A) xopela=
dpxnors kal wdH, and the latter element is considered here: cf.
150 (avuppixnv). [Reversely xopevcacGac Body (Thesm. 103).
Such expressions are part of the lyric style and do not belong
to the comedian’s own language. Even tragedy, which would
readily use gpoluiov xopetcoua. (Aesch. Ag. 31)—since the
‘prelude’ is itself the dance—would be slow to use Body
xXopevooua.] aiddav =‘ varied,’ not monotonous. .

249. trowdodvyoradAdopaci: a burlesque of dithyrambic
compounds (cf. 99 n.). {In pronouncing it should be
remembered that g?=7', not f.] ‘With bubbly plop-
plop-plopping.’ The dat. is not of the instrument, but of
accompanying circumstances (Kiihner-Gerth i. 425. 6), and is
virtually modal. Cf. Hom. J2, 3. 2 kr\ayyn 7 évorn 7’ icar,
Xen. An. 1. 7. 4 xpavyn moh ériacw.

251. rouri rap ipav AapBavw. Dionysus makes an absurd
and derisive noise and adds ‘I am picking that up (or ‘ catch-
ing that trick’) from you.’ The proper word for learning a
thing from a person is mapahauBdvew, the simple AauBdvew
meaning ‘borrow.’ Cf. Arist. Poet, 22, where the highest quality

253—269 NOTES 125

in poetic expression is 7d weradopixdy elvar, because pdvoy Tobro
ovre map &ddovu ort AaBew evprvias Te onpuetdv éott, Luc. Pisce. 6.

253. Sed tipa meodpeoOa, ‘it seems we are to be badly
treated’; an Attic phrase of remonstrance ; cf. Ach. 323 ovx
dxovoduerOa Ofra answered by dewd rapa meloouo (‘then it
will be ashame’). The frogs want copyright.

258. 1 dapv— ordcov av hav: so Bachmann for érdécov 7
papvé avy queov of mss. If there is one rule of Greek more
certain than another it is that, when dy belongs to a relat. and
subjunct. construction, it cannot be separated from the relative
by more than the light particles pév, 5é, ye, yap, and com-
paratively seldom even by these. There is one instance of
separation by oy, viz. inf. 1420 omdérepos oy av . . médd7.
For details see Starkie on Vesp. 565 (Appendix).

xavddvy: cf. Hom. J7. 11. 462 fuse boov Kegparyn xdde
gwros and French crier a@ pleine téte: ‘as wide as our throat
ean hold.’ The throat of frogs is proverbially wide: cf. Ov.
Met. 6. 377 inflataque colla tumescunt, | tpsaque dilatant patulos
convicia rictus.

Su Apépas: with xexpakduecda.

264. ovSémrote: sc. vixjcere, resuming his own words and
ignoring theirs.

265. «iv pe 84: the best mss. support this reading, and in
Plut. 216 the «ay det of mss. plainly points to «av 69 and not
kel Set. In Vesp. 616 we have éyxis (=éyxéns), and the
evidence for contracted forms in the subjunct. from de? is quite
sufficient (see Blaydes’ crit. note to this place and Kiihner-
Blass, Gk. Gramm. § 245. 3). Vowels of like character (e and
e, € and ») contract more easily than others, and for déy to
become 67 (or xéy x7) no more interferes with the general rule
of non-contraction of déw xéw than do the forms devs de?, xe7s x7.

268. éuehNov ipa tmavcew od’. The frogs stop croaking
(since they are to appear through the mdpodos as the chorus at
v. 316) and Di. claims a victory. Lit. ‘I was to stop you, it
appears, in the end’:=‘I knew I should stop you.’ So Ach.
347 éuédder’ dpa mdvTws avjcev ths Bons, Nub. 1301. The
idiom is as old as Homer, and the infin. is always in the future.

269. mate: 122n. mapaBarod: 180 n.

t® kwtiw: these words (apparently superfiuous) are added
in the sense ‘ give a little pull with your oar and bring to’ or
‘give her a touch of the oar, etc.’ This also explains the
diminutive,

126 THE FROGS OF ARISTOPHANES = 271—284

271. At this line the scene is supposed to change (cf. 273,
278). We have left the lake and are in the adjoining country
described by Herakles (148-153). The scene was no more
actually represented than the darkness of v. 273.

6 BlavOlas: 40 n., 608.

4) ElavOias, ‘Hullo! Xanthias!’ Cf Nwb. 105 4 4} cuba,
Others keep the accentuation 4, and read as a question 7
HavOlas ; (sc. dvrws éoriv, as the schol. explains), ie. ‘Is it
really Xanthias?’ But Di. cannot see Xa. in the darkness,
and the slave’s tat (not=/ov, but, as Suidas states, of disgust
= ‘heugh !’) is heard in the distance (hence Babufe Setpo).

275. theyev: see on éppager 182, and cf. épack’ 278.

276. kal vuvl y’ op®: he pretends to be peering into the
dark, with his eyes fixed on—the spectators. The Dionysiac
festival is a time of universal flouting, and the audience must
bear its share (cf. 783). In Nwb. 1096 one character actually
mentions the spectators (oi Gearai) and asks the other what he
sees among them; to which the reply is that for the most
part they are a very loose lot.

277. vev: not superfluous, but=‘we’d better get on.’

278. od Ta Onpia ta Sely’ Ehack’: it is difficult to supply
elvat. The sentence should be taken as cut short by the
contempt of Dionysus. of can hardly be the gen. (‘the place
whose monsters . .’) since @doxew does not appear to take an
accus, of the kind. This verb frequently contains the sugges-
tion of pretence. For the tense cf. 182 n.

281. elSés we .t.A. The participles are to be related in the
sense @iAoTimovmevos, Sri HOer me . «

282. ovdtvy yap ottw yatpov . .: Euripides in his Philoct.
(fr. 788) had written ovdév yap ot'rw yatpov ws avip dv, a line
which seems to have attracted attention through the surprise
in its naive-looking conclusion: ‘There is nothing that gives
itself such airs as—man.’ It is quoted by other writers, e.g.
Plutarch and Dion Chrysostom.

283. éya 8€ y': the éyw of the boaster (cf. 280), implying
‘but J am not that sort of person; give me adventures!’
[This line and the next are tragic in metre and are delivered
with an air. ]

284. dyoviopa: not literally a contest (which in any case
AaBeiv hardly suits), but something won (éra@\ov Suid.) in a
struggle, i.e. ‘the honours of combat’; cf. Thue. 1. 22, 3. 82,
7. 86 and the notes of Poppo-Stahl.

284-294 NOTES 127

THs 0500, ‘ our journey (all this way),’

285. kal phy: lit. ‘and, in fact . .,’ e¢ vero. Kal why (‘by
the way,’ ‘well’) are the common particles in the dramatists
for drawing attention to a new arrival just appearing or about
to appear (cf. 287). The use here is much the same, but with
a shade of difference. When Di. says ‘Z want adventures,’
Xa. replies ‘Of course! And, by the way (talking of adven-
tures), I hear a noise.’ [Since xal wiv regularly begins its
clause, it is surely more natural to punctuate vy tov Ala’ xai
uy .. than vy rov Ala kcal wv. . Xa. assents to Dionysus’
bragging: ‘certainly!’] Xanthias is of course only pretending
to see sights and playing on the nerves of his master.

289. It is possible to punctuate AI. wotév tt; Sevdv; GIA.
tjTayrodatoyv youv k.T.A, This gives a natural enough sense to
yoov, and the form of reply is that of v. 293. Dionysus would
be prompted to ask if it is devédy by the expressions in 144
and 279. But there is no sufficient reason for deserting the
traditional arrangement.

291. apatoraty tis: with adjectives tis (like quidam)
practically = ‘ quite.’

293. "Eyrrovea: Di. concludes that it must be Empusa
because of its metamorphoses. Empusa was a spectre of the
dark sent by Hecate, or a manifestation of Hecate herself,
frightening travellers. Sometimes (at least in later Greek)
the name is generic and used in the plural (=‘ bogeys’). The
special mark of “Euovoa (as distinguished from Mopus and
other popuodvuxeta) is that she kept changing her shape; cf.
Dem. de Cor. 130 (of the mother of Aeschines) jv Eumovcav
dmavres icact Kadouuévny é€x Tod mavTa Toe Kal mdcxev Kal
ylyvecOa, Luc. Salt. 19 rhv "Ewrovoay tiv és pupias pmopdas
peraBardouévny. One of her attributes was the leg of an ass
C?Ovdkwros, Ovocxedls). In many mythologies (e.g. Indian-and
Arabian) demons and malevolent powers have misshapen legs,
and the pede Poena claudo of Horace is derived from the same
notion.

mupl yodv Adprerat K.7.A.: ie. ‘(I should think it is
Empusa), at any rate it has the orthodox characteristics of the
nursery description.’ She is quite en régle.

294. &tav To mpdowmov: rather accus. of respect than
nominative ; cf. Eur. 7.7. 1156 cpa Adurovrac rupl.

Kal okéXos xadkodv exer; Di. wishes to make sure: ‘And
has she a bronze leg (as she ought to have)?’ In Soph. £7.
490 xadxérous ’Epivis denotes tirelessness (cf. xadxévrepos).

128 THE FROGS OF ARISTOPHANES —29s—302

295. BoAtrwov. The point of the jest is lost and probably
not worth seeking. There may be a pun upon podvBdiwor
(8d\.Bos being another shape of the word for ‘lead’), but that
in itself is insufficient. If we may trust Athenaeus (566 &)
Cratinus also used the expression BoNirwor éxwv Odrepov ckéXos,
but we do not know in what connexion. There may have
been some Athenian catchword of the kind.

297. teped: the priest of Dionysus Eleuthereus, who
naturally occupied the middle seat of honour in the front
row. There were numerous other seats for other priests in
his neighbourhood ; the inscriptions in the existing remains
of the theatre (though they are of a later date, temp. Hadrian.)
show at least forty-five such in the first row. See Haigh, Aft.
Theat. pp. 805, 309 sq. The humour of the stage Dionysus
appealing to his own priest for protection scarcely requires
remark,

tv’ @ wou uprdrys: i.e. after the performances, when the
priest of Dionysus gives a banquet, to which the successful
competitors are invited, including (as is clear from this place)
the actors. Cf. Ach. 1085 émi detrvov raxd | Bddige . . | 6 Tob
Avovicov ydp oa” iepeds peraméumera, Eccl. 1180, and inf. 1480.
There is an amusing 7rapa.mpocdoxiay in ieped, Siaptdakdv pw’, tv’
—® co Evurorns.

298. ava—t “HpdxAes. Xanthias uses the customary apo-
strophe of appeal to Herakles Alexikakos; but Dionysus is
masquerading as that divinity, and he takes the words directly
to himself.

od p} KaAels: 202 n.

300. todtd y 8’ rrov. Herakles was in ill odour in
Hades through his previous visit (cf. 464), but it was safer
to pose as the redoubtable Herakles than to be known for the
coward Dionysus. |

301. 10 qmwep epxer: to the Empusa. The words were
apparently a formula addressed to ghosts and supernatural
powers = ‘ pass on your ways (we have no wish to meddle with
you, and therefore do not meddle with us).’ Cf. Lys. 832 dvdp’
dvip 6p mpooidvra wapamrem\nyuevov, | Tots THs Appodirns dpyioss
eiAnupévov: | & wérvia, Kirpov kai KvOjpwv cat Tago | wedéovo’,
10’ dpOhv twmrep epxe tiv 666v. Xa. pauses, and then, pre-
tending that the goblin has passed, calls to Dionysus. [The
common notion that ‘go straight on’ is addressed to Di. is
very weak, nor is épyec the proper verb.]

302. mavr’ aya0a, ‘nothing but good.’ So Av. 1706, Ach.
982 (rdvr’ aya’ éxovras). [To be distinguished from mdvra
rayada . «|

303-308 NOTES 129

303-304. tkerrl 0’ Gomep . . 6p. Hegelochus, who acted
Orestes in Euripides’ play of that name, should have pro-
nounced vy. 281 as ék xuudtrwy yap adds ad yarn’ dpa (i.e.
yadnvd, ‘I see calm after storm’). By a slip of the tongue
he said yadfv (‘a weasel,’ the animal which took the place of
the cat in Greek houses). The same slip is referred to by
Strattis and Sannyrion, of whom the latter has ¢ép’ ef yevolunv
. « yarh: | gdAN “Hyédoxos obrés we punvicerey dv | 6 Tparyixés,
dvakpdyo. 7 dv eis éxOpovs uéya | ‘éx Kupdrov yap avis ad
yaniv opd.’ The difference lay in the complete ignoring of
the elided syllable, which should only have been slurred, and
also in the accent (or pitch) of the vowel y. This is one of
several passages which show how keenly the audience observed
an actor’s articulation and also how distinctly words were
heard in the theatre. [In the confusion of ride potcav
elcdywv with rid éuotcay eicdywv recorded by Athen. 616c
there was a deliberate purpose.] Cicero (Orat. § 173) remarks
of the Athenians in versu theatra tota exclamant, si fuit una
syllaba aut brevior aut longior, and (de Or. § 196) in his si
paulum modo offensum est, ut aut contractione brevius fieret aut
productione longius, theatra tota reclamant. The voice of a
tragic actor was a first consideration, and a false articulation
was as bad as a false note from a great singer (see Haigh,
Att. Theat. pp. 249 sq. ).

aomep “HyéXoxos: sc. elev; cf. Thuc. 5. 29 médrw Sypo-
Kparoupevnv domep kal avrol, Herond. 2. 28 dv xypiv . . ws éyw
fwew, Soph. Aj. 525 eyew o” av olkrov ws Kaya ppevi | Oédowp’
dv, Luecr. 3. 455 ergo dissolvi quoque convenit omnem anima |
naturam, ceu fumus. It ought to be perceived that in all
these instances the nom. is the proper case. Here an
alternative domep ‘Hyehéxw would be wrong, since the meaning
is not ‘we may say, as Hegelochus (might) . .’

308. 081 Sé Seloas k.7.A.: either pointing to some red-haired
man in the audience, or else to the statue of Dionysus, which
was brought into the theatre, and of which the face was
ruddled (Paus. 2. 2. 6). In the latter case the statue of
Dionysus blushes for his stage representative. There is a
mapa mpocdoklay in vreperupplace. ‘How faint (and pale) I
grew, says Di., and Xa. replies: ‘Yes, and he yonder—(and
then, instead of ‘ grew pale ’)—grew red for your sake.’

It must be remarked, however, that muppés is rufus, and
can scarcely be used for épv@pés of the complexion alone. By
putting together the notes of the scholiasts and of Hesychius
it has been conjectured that the priest of Dionysus was zruppés,
and iepeds Avovdcov seems to have been a sobriquet for a red-

K

130 THE FROGS OF ARISTOPHANES 310—316

headed man. If so, the priest is the man pointed at; nor
would there be any rudeness in this if the priest regularly
appeared at the festival with red hair and beard, and probably
red face also. Cf. Tibull. 2. 1. 55 agricola et minio suffusus,
Bacche, rubenti (at the country festival); Pliny, H. WN. 33.
111 (of the statue of Jupiter at festivals); Plutarch, Quaest.
fom. 98 (of the ruddling of old statues in general). It is
perhaps not too bold to suggest that this colour was attributed
to the (Thracian) god of wine, and that originally the priest
representing him must necessarily be equally wuppés, whereas
later the redness, symbolically retained, might be artificial.
The priest of Dionysus might then well be said to ‘ get avppés
for the sake of’ Dionysus. Moreover it is otherwise hard to
see why Eupolis should call Hipponicus ‘priest of Dionysus’
because of his zuppérns.

310. airtdcopar: nothing is gained by altering this (‘whom
am I going to blame?’) into airidowua; ef. Eur. Lon 758
elrwuev oryouev; } Ti Spdoopev; Ach. 312 eir’ éyd cov
geicouat; Gildersleeve, Gk. Synt. § 268.

amodAvvar, ‘trying to ruin me’; cf. 144.

311. aiێpa x.7.A.: see 100 n.
[After this verse the mss. give a stage-direction (zap-
emiypapy) addrct Tis vBov. |

316 sqq. The Chorus, numbering twenty-four, is heard
approaching (but is not yet visible; cf. wov 319). It makes
its entry (wdpodos) at v. 324 in a manner which is naturally
a fair imitation of the evening (343) procession and dancing
at the time of the Lesser Mysteries (see Introd. B.). Usually
the comic chorus entered xara orotyxous, i.e. with front of four
and depth of six, probably led by the flute-player ; but where
some more free and realistic manner was required it was
adopted (as-in Aves and Ecclesiazusae). The dresses are in
keeping with the customs of the procession, but, according
to the convention of comedy, were rather amusing than
sumptuous (cf. 403). matfovow (319) shows the spirit in which
they behave. It is of course the only aspect of the cele-
brations suited to comedy. We may assume that the order
of proceedings at the Lesser Mysteries was in ,general similar
to that at the Greater, including a mpéppnots, the carrying of
Iacchus, yedupicuds and mavvvxis; but, the distance being
short, the whole procession would be at night. The comedian
introduces as much as he chooses of the public or exoteric part
of the ceremonies. tora include the initiated of all grades ;
the completely initiated were éwémra..

316—327 3 NOTES 13]

316. "Iaxx’, ® "Iaxxe: the regular shout, whence iaxxos
itself= ‘the cry of the mystics’ (320) ; cf. Eur. Cycl. 69 taxyov
taxxov wddav wédmw, Hdt. 8. 65 Kat of gaivesOar tiv dwyhv
elvac Tov pvoTikdv taxxov. The word afterwards came to be
made into a proper name and was applied as a title to
Dionysus in his connexion with the Eleusinia (Harrison,
Proleg. pp. 414, 541 sqq.). The day of his procession was
also known as" Iaxyos (Suid. ).

[The temple of Iacchus at Athens was called the ‘Iaxyetor,
and was presumably the same as that of Demeter containing
‘Iacchus with a torch,’ mentioned by Pausanias (1. 2. 4)
as situated inside the gate entered from Peiraeus. But we
are not here (and 324) concerned with that ’Iaxyetov, but with
an afterworld counterpart of another shrine by the Ilissus. ]

318. totr’ tor’ éxeivo, ‘this is the thing’ (which Herakles
told us of, viz. 154 sqq.). From this expression éoriv is more
idiomatically omitted (cf. 1342).

319. eppate: cf. 182, 275, 278.

320. Gover yotv tov taxxov Sviep Su’ ayopas: sc. Gdovow ;
ef. Hg. 408 BaxxéBaxxov doa. The mystics in Hades are
singing the same Iacchus-song which the mystics sing at
Athens through the market-place (when proceeding to Agrae).

It is remarkable, not that the scholiast, but that modern
editors also, should always write Acaydépas, and imagine that
the sentence is incomplete, an offensive word being generally
taken as suppressed. There was, indeed, a well-known
Diagoras of Melos called 6 &eos, who may possibly have
flouted “Iaxxos (or the Iacchus-song) in some unseemly way.
The schol. on Av. 1073 relates (with authorities) that he
Ta pvothpia evrédigev. Others understand another Diagoras
(if it 7s another, and not rather the same man at an earlier
and more pious stage), a lyric poet, who hymned the deities ;
these supply gée. But there is no apparent comic point in
saying ‘they are singing the Iacchus of whom Diagoras sings.’
Rather the procession at Athens, in passing from the Iaccheum,
sings the taxxos through the dyopd. [For the absence of the
article see 129 n.]

324-326. pais: sce 316 n. The meadow in Hades (Pind.
Thren. fr. 1) is identified with (or answers to) that of
Agrae.

327. oolouvs és Oiacwras: the epithet should be noted, as
also the insistence in dyvdv iepav dclos inf. 335, 384. The
comedian has no desire to be accused of belittling the mysteries.
He respects their serious side while availing himself of their

132 THE FROGS OF ARISTOPHANES 327-339

jocose element. Possibly also he is upholding the reputation
of the ravvvyldes against some attack.

Q<iacatas, ‘ (your) fellow-revellers,’ like éuds moXtrys, civis
meus, ete.

329 sq. Bptovra oréhavov piptwv, ‘a wreath laden with
myrtle-berries’ (uvpra). Bpvewv is used with either dat. instr.
or gen. of fulness; cf. Soph. 0. C. 16 xG@pos Bpiwy | dadvas,
édaias. [To render plprwy as from pidpros (gen. of material
with orépavov) is to leave Bpvovra but awkwardly attached. ]
Myrtle (uvpolvn) was worn in the procession by at least the
iepopavrns, Sadotxos, and other officials. The statue of the
child Iacchus also wears the wreath and carries a torch (340).

330. Opacet: i.e. without fear of condemnation as dxéddacror
(331).

éykatakpovov, ‘beating in time to the measure’ (cf. 374).
Tunav, ‘rite, ‘service’ (with xopelav in explan. apposition)
is cognate or internal accus. ; cf. Verg. Aen. 6. 639 pedibus
plaudunt choreas.

331. tav axdAacroyv . ., ‘the (recognised, orthodox) free . .

>

335. xaplrwv: half personified. It has ‘a greatest share
of the Graces,’ i.e. of charm and delight ; cf. Hecl. 582 ws rd
Taxvvew xapirwy pwetéxer mreloTov mapa rotor Oearais. The
words are both a promise to the spectators and a claim of the
dramatist.

336. dofors piorats: the dat. does not depend directly on
éyxaraxpovwv, but is either (1) loosely joined to the general
sense as dat. commodi (i.e. ‘as your pious mystics pray you’) ;
or (2) with dyvav iepav, ‘a dance pure and holy in the eyes of
pious mystics.” The latter is simple; cf. Soph. 0. C. 1446
dvdévac yap wacly éore Sucrvxew: Dem. 20. 54 0 Adyos aicxpds
TOLS TKOTOUMEVOLS. .

337. Anpynrpos képyn: to whom the Lesser Mysteries specially
belonged (as was natural. for the spring), while the Greater
Eleusinia (of autumn) belonged to Demeter herself.

338. as 750. . Kpedv, ‘what a delightful whiff of pork !’
The impers. construction as in 760 fe, drdge rwds; cf. Plut.
1020 dfew Te THs xpbas packer 7d wor. Another construction
to be noted is that of Vesp. 1059 rav inariwy éfjoe degtdryros.
In the mysteries pigs were the staple sacrifice ; cf. Ach. 747,
764; Pac. 374 és xoipldidv viv por ddvercov Tpeis Spaxpds: | det
yap munOjval me mplv TeOvnkévat.

339. Hv tuKal.., ‘in case you may even . .’; cf. 175.

340—351 NOTES 133

340-343. eyepe Aroyéas Aaprddas’ év yepol yap tke. .
gdwoddpos adornp: this is the simplest reading for both con-
struction and metre. The change to Kes on the part of most
(but not the best) Mss. was due to é@ye:pe, and the unmetrical
addition of rwacowv was caused by the inclusion of a marginal
note written under a misapprehension. On the other hand
the words yap tke. cannot have been so added.

The chorus apostrophise each other, ‘stir the torches to
flame (pdoyéas being proleptic); for in our hands there is
borne—lIacch’ O Iacche !—the light-bringing star of our nightly
revel.’ “Iaxx’ & “Iaxxe is parenthetical, like Jo triwmphe, evot,
etc. In the strophe the deity was invoked to come forth ;
with the antistrophe he is brought out.

340. %yepe: by brandishing. Cf. Stat. Siv. 8. 5
quassamus lampada mystae. [Some, keeping tiwdoowr in
violation of the metre, punctuate éye:pe* proyéas Aaumddas ev
xepot yap «.7.X. In this case @yeipe is used absolutely (like
érevye, dative), not as=éyelpov, but with a relevant accus.
supplied. The late position of yap would in itself be justifiable :
cf. Antiph. ap. Ath. 339 B éml 7d rdpixds eoriw wpunkvia yap,
ibid. 572 A ai uev &AXax Tobvoua | BAdrrover Tots Tpdrors yap. |

év xepol yap ter: viz. of the laxyaywyol or ceremonial
nurses (fem.), whose title is found in connexion with the
Eleusinia.

343. dwoddpos aoryp: viz. Iacchus, who bears a torch.
Cf. (though in another connexion) Soph. Ant. 1146 yxopdy’
dorpwy, applied to Dionysus. There is an oxymoron in the
combination of vuxrépov with g@wodépos (‘ morning-star’).

344. 81: better than 8é, as well as more metrical. They
have called upon their comrades to ‘rouse the torches,’ and it
is done (67)=‘So! The meadow is all ablaze.’

345. yovu madera yepdvrwv. So the aged Cadmus and
Teiresias dance under the Bacchic inspiration (Eur. Bacch. 184
sqq.), and Cadmus observes émireAjopued’ Hdéws | yépovres dvres.

348. érav . . éviavrots=éréy Kxvxdous (Eur. Hel. 112), since
éros= ‘year,’ while éviavrds=‘round’ or ‘recurring season’ ;
cf. Hom. Od. 1. 16 aX’ ore bh eros HAGE mepiTrAOMEvwv eviavT@r.

349. iepds td tTinds, ‘thanks to (or ‘to the accompaniment
of’) this holy service’ ; cf. 333.

350 sqq. ov 8 . . pdxap: TIacchus (one of the pdxapes
Geoi) is now in the hands of the bearers, and he is bidden to
advance with the procession into the dancing space.

351. avOnpdv fAcov : see Introd. p. xxxiii.

134 THE FROGS OF ARISTOPHANES 354—356

354-371. The anapaestic tetrameters, recited by the cory-
phaeus (who is probably the hierophant, but may be the xfpvué),
are in humorous imitation of a xjpvyua or mpdppnots which was
made before the mystic rites proper began. Before the Greater
Mysteries a proclamation was made publicly in Athens itself in
the Stoa Poikile by the Hierophant or Daduchus (although one
would rather have expected it to be the xfpvé, and our
authorities may be incorrect). But there is nothing to prevent
another and final mzpédppyots on the actual field of the celebra-
tions, and at Agrae, so easy of reach from Athens, this was
probably part of the proceedings after Iacchus had been brought
forth. We need not suppose that Aristoph. adheres strictly to
the order of ritual, but he necessarily worked upon a general
basis of similarity.

While in the mysteries those are bidden to retire who are
uninitiated or impure or have committed certain specified sins,
the Chorus here banishes those who are uninitiated or corrupt in
literary judgment or who have committed political crimes.
This affords an opportunity for a number of personal hits.
The double reference to the mysteries on the one hand and the
si an views on the other is well maintained by plays upon
words.

854. ednwetv xpi: ie. all present must favere linguis,
whereas éiorac@ar refers only to those hereafter mentioned.

eloracba «.t.A. ‘For the interdiction itself cf. Callim.
Hym. Apoll, 2 éxas éxas boris additpés, Verg. Aen. 6. 258 procul
o procul este profant. We should also compare for the literary
application Hor. Od. 3. 1. 1 Odi profanum (=dpdnrov) volgus
et arceo. | Favete linguis: carmina non prius | audita Musarum
sacerdos | virginibus puerisque canto.

Tois tperépoiot xopoto.v. The words suit (1) the porn,
(2) the comic choruses competing for the prize.

355. daeipos . . kaSapever: an application of two clauses of
the actual formula at the mysteries, viz. (Theo Smyrn. p. 22)
doris Tas xEipas uy KaBapds and baTis Pwvhy aovveros.

Tovovde Adywv: suiting (1) the mystic doctrines, (2) the ‘ fit
and proper literature’ of comedy.

youn, ‘judgment,’ substituted for xefpas of the formula.
The comedy must be judged with right taste and without bias.
For the loc. or instrum. dat. in place of the accus. of respect ef.
Xen. Cyr. 1. 3.10 rats yramars cpaddopuévouvs, Eur. Bacch. 683
cwpacw rapemévat, Herond. 3. 32 dupacw kdurer.

356. yevvaiwy . . Movodv: ie. not the vulgar sort of

356—357 NOTES 135

composition; ‘literature fit for gentlemen.’ Movodv, of
course, replaces the half-expected uvordr.

dpyia . . eldev: not=7d iepd efdev with allusion to the
crowning revelation to a full éwérrys, since not all wwora
were such. dpya are not the sacred things, but the sacred
rites, though these also are arcana, and could only be seen or
danced by some grade of piorm. The accus. (cognate) can
therefore be joined to yopevew (‘celebrate in dance’) as well as
to dpay (direct obj.). Cf. Eur. Bacch. 488 mas dvaxopever
BapBdpwy 74d” dpyia. Here dpyra Movody cidev=‘has been a
spectator of drama’; éxdpevoev=‘ has actually taken part in a
chorus.’

357. Kparlvov rot tavpopdayov: a compliment, as the
context should show. Aristophanes wishes to be judged by
those who have been initiated into the revels of Cratinus, i.e.
who know what good comedy is. Cratinus had probably been
dead about sixteen years, and though Aristoph. satirises him
when alive, in 424 B.c., as senile and a drunkard, such satire
was in keeping with the custom of comedy, and is to be dis-
counted by the fact that Cratinus was still neither too senile
nor too sodden to defeat Aristoph. himself in 423 B.c. His
excellence as a comedian is proved by his nine victories
unanimously adjudged. His merit in the eyes of Aristoph. is
that he typically represents the ‘Old’ comedy, with its fearless
personal satire, which was supposed to be in the interests of
society (madaywyichvy mappnoiav éxovoa Marc. Aurel. 11. 6).
This privilege had been denied, restored, and threatened several
times before 405 B.c. and was already on the decline, but our
poet endeavours (as Cicero puts it de Rep. 4. 10) ut quod vellet
comoedia de quo vellet nominatim diceret; cf. inf. 367-368.
On the technical side also the work of Cratinus was of a high
order, particularly in the choruses.

That he was a drunkard is a commonplace with his contem-
poraries, and was admitted by himself in his last play (IIvrivy) ;
but this vice was (as often in modern times) treated rather as
matter for jest than for scorn. Almost certainly along with
the present compliment there goes an allusion to his tipsiness,
‘since Kparivov Baxxeta at once suggests Avovicov Baxxeta, and
since the wine-god is himself called Tavpopdyos (Soph. /r.
Tyro). The term is borrowed from (1) the Orphic mysteries of
the ®uopayla (Harrison, Proleg. pp. 482 sqq.) at which a bull was
slain and eaten in honour of Dionysus, (2) the offering of a
bull to Dionysus by the Ephebi at the City Dionysia (Haigh,
Att. Theat. p. 13). Dionysus was also tavpépopdos, Taupdkepws
(a bull-god), and the audience would readily take the equation

136 THE FROGS OF ARISTOPHANES — 357—361

and realise that Cratinus was virtually being substituted for
‘the wine-god.’

But ravpogdyos has a further application to the winner in
the dithyrambic contest, where the prize was a bull, which
served as a feast. The lyrics of Cratinus were specially
dithyrambic, although we have no knowledge as to his com-
peting in dithyramb proper. But ‘eater of bulls’ may very
well have become proverbial for ‘prize-winner.’ Add to this
that the eater of a thing was supposed to be penetrated with
_ the power or spirit of that thing ; and hence probably the story
of the athlete Milo, who ‘ate a bull.’ Thus Cratinus is full of -
bull-like courage in his comic attacks.

[We may sum up by saying that Kparlvov rod ravpoddyou
is substituted for Avovicov rod ravpopdyouv, the god of special
mysteries, and. that, as applied to Cratinus, the epithet
implies (1) wine-drinker, (2) winner of victories, (3) fiercely
courageous. |

yAorrys Paxxeta: to be closely joined. His tongue was
reckless, carried away with ardour and licence of Dionysiac
possession. ‘Those who have been initiated into the revels of
Cratinus’ tongue’=‘ those who have learned to appreciate the
free-speaking of the old school.’ :

Baxxet’ éreAéoOn: cognate accus.; cf. Plat. Phaedr. 2490

Tedéous del TEAETAS TENOUMEVOS. :

358. recov, ‘verses,’ not ‘words,’ is the sense of éry in
ordinary comic dialogue ; but in anapaests, while the former is
the surface sense, the latter is not excluded. ‘ Delighting in
ribald words’ has its reference to the mysteries; ‘in black-
guardly verses’ to the drama. There is a hit at the competitors
of Aristophanes (cf. 13 sqq.). 7d Bwpuodrdxov is that which
‘plays to the gallery’; cf. Nwb. 970 (in connexion with music).

TovTo Trovotew : id agentibus, sc. Bwuoroxevopuévors, cf. 584
otd’ of8’ bre Ovjot, Kat Stxkalws avrd Spas and, more nearly, Plut.
522 écrar. . ovdels dvdparrodiorys |. . . Ths yap mdouTav ebedAyoet
| kwduvevwy mepl Tis WuxAs Tis abrod Totro mojoa; See also
168 n.

359. troAlrats, ‘where citizens are concerned.’ The article
would be more inclusive ‘ (all) the citizens’ (regarded as a
mods).

360. dveyelper: sc. ordow (not avrov’s). The reference is
probably to Cleophon and his adherents.

361. dpxewv, ‘while holding (some) office.’
katadwpodoKeirat. The middle (or passive) also in Ar. Pol.

362—364 NOTES 137

2. 9. 26 daivovrar dé kal Karadwpodokovmevan Kal KaTaxapifduerot
To\\a Tov kowHv. The simple dwpodoxety classically = ‘ receive
bribes’; in later writers it=Jdexdfev or xphuace diapbelpew
‘bribe’ (Cobet, Nov. Lect. p. 502). The compound with xara-
expresses ‘ruin (betray) a thing through bribe-taking’ (ef.
Lysias p. 178 orérav ratra . . KdémTwot Kal Katadwpodoxder).
The use is well-known in xaOtrmorpogew ri and the like. In
Vesp. 1035 rowotrov idwy répas ot pyow deloas KaTadwpodokjcat,
[ GAN’ brép buy eri Kal vuvi wodeue? we should supply dyuas, ‘ to
betray you for bribes.’ If a person ‘corrupts himself—gives
- himself away—by receiving bribes’ he may be said xara-
dwpodoxeiy éavrdv, or, as its equivalent, caradwpodoxetc ba.

362. mpodlSwow dpovpiov % vats: part of a public
formula; cf. Lys. 31. 28 ef uwéy ris ppovpidy Te rpotdwxev 7} vaiv 7
oTparémedév Tt. . . Tals éoxdras av Snulats efnusodro, Poll. 8.
52 éyivovro eicayyeNlat kata Tov mpoddvTwr ppovprov 7 oTpaTiav
i) vats, Lycurg. c. Leoc. 155. 59.

Taméppyra, ‘contraband of war’ (at the same time suggest-
ing the secrets of the mysteries). Cf. Hg. 278 rovrovi rév dvdp’
éya 'vdelkvume Kal pnw’ éédryew | rator IleXorovynciwy Tpijpecc
fwuevpata followed by é&dywv ye rdamdppy?’ (282). The for-
bidden exports were particularly materials for shipbuilding
(e.g. ropes, sails, pitch), and corn. So Dem. de F. Leg. 433
éypayev, dv tis ws Bidurmov Srda dywv ag 7} oKe’y TpinpiKd,
Odvarov eivar Thy Sylar.

363. é Alylvyns. Aegina was now part of the Athenian
empire, the Aeginetans having been evicted at the beginning of
the war and replaced by settlers from Athens (Thue. 2. 27).
Disloyal Athenians were able to make it a basis for communica-
tion with the Peloponnese, since it was 7H IleAorovvjow
émexemévyn (Thue. J.c.). Epidaurus was the nearest opposite
port.

Owprkiwv dv, ‘being @ Thorycion,’ ie. ‘as bad as
Thorycion.’ Cf. 541 and fr. 92 & puapé cal Ppvvdvda xal
movnpé oJ. Nothing further is known of the man.

eixootoddyos. The elxocri was a duty of five per cent on
all goods carried by sea in the Athenian empire. It was
imposed in 413 B.c. in place of the @épos or direct quota-pay-
ment of the allies, and was collected in all their ports. Cf.
Thue. 7. 28 rip eixooryy bd rTobrov tov xpbvov Tray Kara
Odraccay avril rod pépou Tots irnkbas érébecav, wreiw vouloayTes
av odiot xphuata otrw mpoorévat.

364. aoKopara: leather pads for the oars in the rowlocks.
Hiym. Mag. 155. 17 says ra dépuara ra émipparripeva rats

138 THE FROGS OF ARISTOPHANES 365—366

kwmats Oa Td wh eloppetv rd Oaddooroy Vdwp, i.e. ‘leather bags
fitting over the oar at the oar-ports, to prevent the wash of the
sea from entering’ (Dict. Ant. ii. p. 223). Cf. Ach. 97 doxwp’
éxeis Tou mepl Tov dpOahuov Kdtw (after vaipapxrov Brérrets), i.e.
‘a pad’ or ‘ bagginess.’

365. xpfpara . . me(0er. Such assistance to the enemy
had come from Persia (Xen. Held. 2. 1. 11), but there can
hardly be an attack here upon Alcibiades (cf. 1432). The
‘persuasion’ on the part of Alc., when he was estranged from
Athens, had been exerted seven years earlier than this play,
and the position had entirely changed.

366. tav “Exataiwv. ‘Exarata are either (1) ‘Exdrys detrva,
messes of poor food or even offal put out at the cross-roads (év
Tptddors) on the last of the month asa purificatory ceremony.
These might be eaten by dogs or by the miserably poor. (2)
‘Exdrnys dydduara, statues‘or emblems of Hecate rporvAala (or
mpoOupaia). (3) ‘Exdrns iepd, little shrines of Hecate placed éy
tpiddos. In the last sense most editors prefer the spelling
“Exareta (cf. Oncetov, “Hpaxdelov, Movoeiov, OAvumtetov) and
this is highly probable. [There is, however, nothing’to prove
that “Exarafov is an impossible form in the same meaning, since
the suffix was originally -cov simply, and only spread as -efoy
through analogy with, e.g., “Hpaxde(Fec)-cov, Oyce(F)-cov.] But
here it is not safe to make the alteration, since we do not know
whether it was detrva, adyd\uara or iepd which were defiled.
Av. 1054 (or7dns) suggests that it was one of the street
emblems.

The defiler referred to is said by scholiasts to have been
Cinesias, and, though this may be a guess, it is supported by a
passage in Hecl. 330. Moreover Cinesias was a xvx\od.ddoKados,
composer (and teacher to the chorus) of dithyrambs, and a
contemptible person (ef. 153), of whom Lysias (ap. Ath. 551 Fr)
states that he was doeBéoraros ardvrwv dvOpwHrwy, and that he
did things & rots G\dos aloxpdy ort kal Néyew,

kuKAloist xopotow tradev, ‘leading the music of dithy-
rambic choruses,’ is not merely a periphrasis for. ‘being a
dithyrambic poet,’ but implies that such a person should be the
last to commit this profane outrage.

The xvx«duos xopds of fifty danced and sang round the altar
of Dionysus, and is thus distinguished in name from other
choruses, which were rectangular (rerpdywvo.). Five (tribal)
choruses were composed of men and five of boys, and the offence
is somewhat emphasised by the latter consideration. The con-
tests of such xopol took place in the theatre at the Dionysia.

trqdewv, lit. ‘leading with singing’ (or the flute)=voce (or

367—369 NOTES 139

tibia) praeire. two- of accompaniment strictly expresses the
guidance or impulse under which a thing is done: cf. 874,
Callim. H. Dian. 241 sqq. (after KixrXw | ornodpevar xopdv edpir).
brheoav dé Nliyecar | Newradéov ovpryyes. The same sense
appears in vmavAety, vreretv (fr. 479 éyw 8 brepd Tov Spkov=
verba pracibo). On the other hand mpocgdew is said of the
chorus (Plat. Legg. 6708).

It was theoretically the business of the kuxdv0dcddoKandos to
train his own chorus, but he might employ a vrod:ddoKanos,
and it is enough to suppose that the composer here chants his
words and tune in general guidance.

367. rovs picBods k.7.A. The schol. on Eeci. 102 states that
Agyrrhius ‘cut down the payment made to poets,’ i.e. managed
to reduce the payments made to the selected writers for the
dramatic and lyric competitions. The schol. on the present
place blames Archinus (‘and perhaps Agyrrhius’). All the
competitors were paid, but on a scale proportioned to their
place in the result.

pytwp dy eit’: eira (practically=éduws) implies that, if any
one had a right to reduce the scale, it certainly was not fora
pyrwp to do it. Cf. 205, Ach. 496 uy por POovicnr’.. | e
mrTwxos dv érecr’ ev "AOnvalos réyew | uéAXw. The offender was
a ‘ professional talker,’ and a poet was better than a ‘ talker.’
Moreover a p7rwp is a public man and must put up with the
consequences. The piyropes (=ol Sjuw cupBovdrevovTes kal ev TO
Snuw ayopevovres Suid.) theoretically enjoyed no credit, but in
practice were powerful.

368. KwpwdnOels, ‘ because satirised in comedy.’ ,

év tais matpios . . Avovioov: these words contain the
excuse for any freedom taken with Archinus or Agyrrhius. No
man ought to bear malice when the poets are simply following
_ the old-established practice (zarpiois) on a privileged occasion ;
ef. 357 n. Aristoph. chooses the word teAerais, not merely
‘instead of éopry as applicable to the mysteries, but in emphasis
of the excuse. ‘Initiation’ involves more or less unpleasant
probation, and the fj7wp was only ‘going through the mill.’

369. rovTois mpwtdH: an excellent correction of Blaydes
(see crit. n.). sApart from the metre, ro’ros dmavdd .
éfloracOat is very improbable Greek for dravdé uh rapetvar or
avd éicracba. This difficulty could be partially got over by
punctuating at the end of the line and treating éficracOa as
imperat. (cf. Ach. 1001 dxovere Ne: KaTad Ta wadrpia Tovs Xda
| wivev). [The change to the imperat. dveyelpere would be no
embarrassment, since that word is addressed directly to other

140 THE FROGS OF ARISTOPHANES = 369—372

persons (with tuels), while é&oracAa is general and formal. |
Nevertheless even with such punctuation aravd6 would still be
unnatural. The correction (1) explains the corruption, the
crasis for rpo-avd@ being rare and apparently restricted to this
word, in which it occurs Av. 556 lepdv rédewov mpwiday ata,
(2) suits the notion of a mpdppyots, as in mpodéyw, mpopwvd, (3)
restores a normal construction.

KatOis Td tplrov pada. Join katOis .. pada. Cf. Aesch.
Cho. 875 otwor war’ abOis év rpiros rpoopbéypuacw. In phrases
of repetition this use of «dda is habitual, cf. Aesch. Cho. 649,
Ag. 1344, Eur. Phoen. 1067, ete.

370. piorator: adj.=pvorixots. Cf. Anth. Pal. 7. 219
utotns AYxvos, Eur. Jon 1373 oixérny Blov, Xen. An. 6. 5. 9
Adxoar PiAakes. [Not ‘ owr rites,’ but any such. ]

371. kal tmavvvx(das: sc. dyew (or moreicbat) dpxeobe to be
gathered by a sufficiently easy zeugma from dveyelpere.

Tas hpetépas at K.7.A.: words of defence or excuse (cf. 327,
335).

372 sqq. Commentators do not appear to have realised the
difficulty of relating the present situation to that which has
preceded. At v. 324 the mystae call upon Iacchus to come
forth from his shrine; at v. 340 he is borne forth; at v. 350
he is bidden to lead the procession (i.e. the dances) into the
flowery level (i.e. the orchestra); at v. 352 the coryphaeus
makes the pdppyors before the dance begins. But immediately
after commanding the mystae to ‘raise the song etc.’ we here
find every one (7as) ‘now’ (viv) bidden to move to the ‘ flowery
recesses of the meadows.’ We might take this to be a repetition
of the command in v. 350; but now—if we seek a natural
interpretation of words—it is daytime (376, 387, 455). The
Mystae have taken their d&pucrov and go into the meads to sport
and dance ‘all day.’ What too is the meaning of ‘summoning
hither Iacchus’ (395), when he has already been surnmoned
and has come (340) ?

Unless we are to suppose (as we need not) that the two
editions of the Frogs have been confused (Introd. p. xxvi), it is
necessary that we should here assume a change of time. After
the proclamation of v. 871 the chorus perform their dance,
representing the mavvuxis, and this fills the night. We are thus
brought to the next day; an interval is supposed to have
elapsed for rest and the dporov: and the celebrations are now
“continued in special honour of Kore (379), next of Demeter
(383), including Iacchus (396), who has been again lodged
(after the wavvvxls and during the interval) in his shrine by

372-379 NOTES 14]

the meadow. The assumption of a lapse of time has often to
be made, and the Frogs, with its frequent changes of scene,
especially demands this liberty.

372. xa@pe. x.t.A. The metre, which is that of a slow and
steady march and consists of anapaests entirely spondaic, was
affected by the Spartans in their éuBaripia (cf. EuBa 377).
avSpelws is playfully borrowed from the marching song of war-
time: ‘march like a man—to the flowery bays.’

373. és Tovs evavOcis KdATrouS Aetvov. The absence of art.
from Aeudvewv is due to the close connexion of cdAmovus-Aetmwmvwr
into one notion, the gen. being practically an adjective. In
such cases the gen. may come between art. and noun, as in
Soph. 47. 664 7 Bpordv maporuta, or after the noun, as Eur.
Bacch. 29 riv auapriav Néxous, El. 368 ai pices Bporsv. [Where
there is already a qualification of the noun (as evavéeis here)
the other attributive word (here a gen.) may naturally be
expected to follow rather than precede. ]

374. éyxpotev: cf. éyxaraxpovwy 330 n.

375 sq. émoxotrwv «.t.A.: with reference to the cxappara
and yedupicués at the mysteries. At the same time the chorus
is pleading its right of mockery in the theatre. See Lucian
Prom. 6 7 5é (kwu@dia) rapadovca rH Atoviow éavriy Oedrpy
autre. kal Evyémrave kal éyehwrorole: kal éréoxwrre, and (later)
émickwmrew Kal Thy Acovuciaxiy édevdeplay karaxety (Twos).

377. qptornrar 8 &apkotvtws: cf. Nicostr. ap. Ath, 693 B
ixav@s Kexdpracuac ydép. On the one side it means that the
mystic fast has been broken, on the other it introduces a
favourite jest. The meals of the Chorus were supplied by the
xopyyés, and the appetite of the xopevrai was proverbial (Haigh,
Att. Theat. p. 80, where the pertinent authorities are cited).
Comedies were performed after the dpicrov and the Chorus
admits that it ‘has had not a bad meal.’ Cf. 403 sqq. fora
similar reference to their clothing as supplied by the xopryés.
That the comedians could jest at their own choruses appears
from Suidas (in voc. dapvyivinv) oxamrovres Thy yaoTpimapylav
Tov xopevTdy ’Arrixol orw Aéyouor. [The mistake of supposing
that the proceedings are still those of night has caused doubts
and alterations of the text. ]

_ 878. dpets, ‘uplift (in song),’ ‘extol’ (tollere). Usually a
predic. adj. is joined to the verb, e.g. uéyav, byydv alpew rwd :
here the following words give the definition. Cf. Aesch. Pers.
549 xdyw dé udpov rev oixouévwv | aipw doxiuws moduTevO7.

379. tiv Lorepav: i.e. Peppédarray (the name specially

142 THE FROGS OF ARISTOPHANES —379—389

borne by Kore at Agrae). That Persephone is meant is clear
from the following mention of Demeter and Iacchus, and that
she bore the title Zwrepa appears from Paus. 3. 13. 2 vads
Képyns Zwreipas (in Laconia), 8. 31. 1 (Arcadia), and from coins
of Cyzicus. Cf. Aristot. Rhet. 8. 18. 1 ris redXerHs Tov Tis
Zwrelpas iepav.

yevvatws, in ‘first-rate’ style: cf. 97 n.

381. cwfew, ‘acts as Xwreipa.’ This is better than cadcew ;
she says ‘I am your preserver for ever.’

Owpru«lwv : cf. 363.

382 sq. These two anapaestic tetrameters are spoken (or
chanted) by the coryphaeus. The next service is due to
Demeter, and the metre is of quite another kind (€répa idéa) to
that of the lines referring to Persephone. The construction is
érépav tpvev iddav Kedadeire, ErikoopodvrTes Thy «. B., cf.
Pind. NV. 4. 26 tuvov xeXddnoe xaddivixov. The fem. form Oedv
is not part of the language of sheer comedy, but belongs to the
higher style admitted outside the trimeter ; yet to Persephone
at least this form seems to have been peculiarly applied
(Meisterhans, Att. Insch. § 47 a 4).

.The words Ajpytpa Vedv, which are not strictly necessary,
lend more solemnity and recognition of greatness: ‘the fruit-
bringing Queen, Demeter, goddess. . ’

384. ayvav: with the same insistence as in 327 n.

387. Kal uw’ aodadds «.t.A. This use of accus. and infin.
belongs to the language of prayer, and depends on the thought
dds or efxouar unexpressed (Kiihner-Gerth ii. p. 22). Cf. 887,
892, Aesch. S.c. 7’. 239 Oeot modtrar, un je Sovreias Tuxeiv, Ach.
247 & Ardvuce Séorora, | Kexapiouévws cor THvde THY Touhy
éue | réuwavra Kal Odcavra werd Tov oixeray | dyaryeiy TYXnpis
Ta Kar’ aypovs Acovicia.

Speaking as wwora they mean ‘may I sport and dance with-
out offence towards the goddess and her ritual’; as xopevrai of
the comedian, ‘may I jest without offence (in the eyes of’ the
audience) or danger (from individuals), and dance so as to win
the prize.’ [An allusion to safety from the Lacedaemonians is
also very probable. The position was critical: see Introd. —
p- Xxili. ]

awavhwepov: through the day’s ceremonies (1) of the mysteries,
(2) of the dramatic performance.

389, twod\Aa piv yéAouw K.7.A. : the maxim of the comedian,
who claims a serious purpose. Cf. Plut. Mor. 68 B émei xal rots
Kw@puKots TONAG pds TO O€arpov avornpa Kal TodiTiKad émreTroinTo.

392—404 NOTES 143

392. mwalcavra . . vikhoavTa Tatviote bar, ‘(grant that)
after jesting . . I may gain the victory and be honoured with
the fillet.’ For the combination of participles cf. Aesch. 8. c. 7’.
3 olaxka vwudv Brépapa wy Koay trvw, Plat. Rep. 366 A
Nico dpuevor UrepBaivovres Kal auapravovres TeiPovres avTOvs aLHuLOL
dmahddéouev, i.e. melOovres atrov’s Aicodmevoe (=TH AlocerOar)
brepBaivovres (=omdbray vrepBalvwuer).

. 3893. ratviotoGar. The rawia was a band or ribbon bound
round the head of the victor, while the ends floated behind like
streamers. In art it figures at full length in the hands of Nike.
[Though this proceeding relates to the chorus in the theatre,
there is at least a probability that even in the oxwyupara and
mwatyuara of the mysteries there was some recognition of pre-
eminence. |

395. wpatov: cf. Catull. 64. 251 florens . . Lacchus, Ov.
Met. 4. 17 (of Bacchus=Iacchus) tu puer aeternus, tu formo-
SiSSUMUS.

396. Tov Evvéurropov: i.e. who is (always) the (recognised)
companion, etc.

397. pédos EopTiis Sirrov etpwv, ‘discoverer of the sweetest
festal tune’ (not=rTjode rijs €opr7js, for which at least the article
would be required). The tune which Iacchus invented (viz.
the Iacchus-song) is called the most grateful or welcome tune
known at any festival.

400. mpds tiv 8edv: Persephone, to whose shrine they are
proceeding. :

401. dvev movov «.t.A. ITacchus is but a babe, and the
journey is, therefore, relatively wodAy. Nevertheless -he is a
god, and the gods know no wévos: cf. Hes. Op. 112, Eur. Phoen.
689 rdvra & evwerH Oeois, Lucr. 5. 1182 nullwm capere ipsos
inde laborem. [Probably the expression was actually used each
year when the start was made from the Iaccheum, whether to
Eleusis or to Agrae. ]

404. katerylow piv . ., ‘didst cause to be slit up.’ There
can hardly be areference to the cx.ords xirdv or the shoes called
oxioral, since these were neither ridiculous nor necessarily
cheap. The allusion is rather to the old clothes which were
worn (1) at mysteries (as was natural in view of the malyyara
and the night-revels), (2) frequently in the comic chorus. In
the latter 76 yé\ovov was of course consulted, but an economical
xopnyés took advantage of that requirement, when he could, to
supply his Chorus with hired dresses which had seen much
service (Haigh, Att. Theat. p. 83). The chorus here hits

144 THE FROGS OF ARISTOPHANES 4o4—414

satirically at this practice. Iacchus ‘had our clothes slit up to
create laughter—not to mention economy!’ ocavdadrloKov
(‘ bit of a sandal’) and pakos (‘rag’) are humorous disparage-
pent 3 these things do not deserve the name of ‘shoes’ and
‘clothes.’

Kkaterxlow piv. . KaeEndpes. If this reading is correct we
have an instance of pév answered irregularly by kal (Kiihner-
Gerth ii. p. 271, who quote e.g. Hom. J/. 9. 53, Od. 9. 49,
Xen. Cyr. 1. 4. 3). But one best Ms. has katacylow pév. .
eEnipes and Kock’s katacyirdpevos . . éEndpes is highly
probable.

407. afnplovs, ‘without loss’ (through expense in things
spoilt, but with the further suggestion of dramatic impunity in
the matter of persons or things mocked),

414. éyd 8 acl wwsk.t.A. Thespeaker, attracted by the last
words, exclaims ‘ 7m in a general way rather given to escorting
(taking up cuvaxodovGa), and I should like to dance, playing
the while.’ For the expression cf. Eur. Hipp. 666 del yap odv
mws elo. Kaxetvar kaxal. The sense of rws, though it qualifies
del, is felt with the adj. also. With another order Plut. 246
éyw 5é rovrou Tod Tpbmov Ts elu’ del.

But who is the speaker? Some mss. give the words to
Xanthias; editors commonly assign them to Dionysus, but
some to prominent persons in the Chorus (which appears less
natural). A sufficiently humorous situation is created if, when
the attractions of the procession become manifest, the travellers
are eager to take part. The lines being attributed as in the
text, we may assume either (1) that Di. and Xa. speak them
aside, or (2) that they advance and speak so that the ptorar
can hear. In the latter case we may take this as a suggestion
of the yedupicuds proper, in which the spectators bandied jests
with the procession. The next words of the Chorus would then
be addressed to the two travellers, and both 8fra and kow7
would lose nothing in appropriateness, while otv (422) vical
perhaps gain. Perhaps it is best to suppose that the two come
forward with a display of lively eagerness.

[The ss. have per’ atrfjs at the end of v. 414. For metrical
reasons either these words must be omitted or their equivalent
in scansion must be added to the next line so as to create a
couplet of iambic tetrameters. The addition might take the
shape of kéywye <BotAowat> mpds or Kavywye tpds, <cdd’ icf.
But it is not easy to see why the loss should occur, whereas
the addition of both eu: and avrijs (adscript) might be fore-
seen if the original were the trimeters AI. éyd 8 del mows

416—418 NOTES 145

diraxdrovlos, kal pera (adv. cf. avec) | walLwv xopetery BovrAopar.
BLA. Kiywye mods. |

416. BotdAceoOe Sra . . : spoken by the coryphaeus, ‘ pray,
would youlike . . ?’ cf. Av. 1689 Bovd\eade Sir’ éyw réws | dr7h
Ta Kpéa Tauri pévwv; If addressed to his fellow choreutae,
koww7 = ‘all together,’ i.e. not jesting at one another but all
alike turning on Archedemus (cf. Lys. 1042). If to Di. and
Xa. after their desire to ‘join in,’ it=‘ Would you then like
tojoin usin. . ?’ [The yedupiopds (cf. ra €& audéns and the
orjvia of the Thesmophoria) was a free use of rough banter,
chiefly at the Cephisus bridge as the procession passed to
Eleusis (Strab. 9. 400 and see Sikes-Allen on Hom. Hym. 2.
195), but of course employed in similar cases and other festivals
at other bridges (e.g. over the [lissus), and thence generically.
A bridge was a convenient standing-place, since everyone must
pass. ‘yepupifew thence becomes=cxwmrixds vBpifer. ]

417. “ApxéSynpov: mentioned by Xenophon (Hell. 1. 7. 2)
as 6 Tov Ojuou mpoeoTnKws Kai THs wwBerias émimedduevos at the
time of the battle of Arginusae, by Lysias (14. 25) as yAduwr
(inf. 588) and an embezzler of public money when Alcibiades
was a youth, and by Aeschines (de #. Leg. 76) as a corrupter
of the people by largesses. As the accuser of Erasinides (inf.
1195) he was naturally suffering much odium at the date of
the Frogs.

418. errérys dv odk Epvoe hpatepas. The last word is a
punning rapa mpocdoxiay pronounced with a drawl, as if it were
to be dpacrhpas (sc. dddvras). These were the second teeth,
which came at seven years of age; cf. Solon, Hleg. 25. 1 mais
Mev dvnBos éwv Etc varios Epxos dddvTwv | Pioas ExBdANeL parov
év rr’ érecwv. So wisdom-teeth are called cwopovicripes or
kpavrjpes. For ‘had not grown (his) second teeth’ the comedian
substitutes ‘had not grown (his) clansmen,’ i.e. he was no
legitimate Athenian. [Such charges were very common; ef,
679 n.] <A similar expression occurs in Av. 764 ef dé doddds
éort kal Kap &omep Hénxeoridys, | puodrw mdmrmovs rap” jpiv Kal
gpavotvrat ppdrepes. very true-born citizen was registered in
early childhood in the ¢parepixdvy ypaumaretov of a dparpia, i.e,
in a division of a tribe which claimed a common descent and
a share in a peculiar worship of special clan-divinities. A
citizen by adoption of the people (Snuorolnros), but originally
a foreigner or a slave, had not passed through this enrolment,
but, upon his adoption, he was admitted to a gparpia with a
limited recognition (Dict. Ant. i. p. 905).

[The spelling varies between o@pdrepas and dpdropas. Here
the Mss, give the latter, as in Hy. 255, The grammarians,

L

146 THE FROGS OF ARISTOPHANES 420-438

however (e.g. Steph. Byz.), tell us that dpdrnp is the Attic form,
and this answers to frater and to e.g. raryp, wArnp, Ovyarnp.
Attic inscriptions always show -ryp (Meisterhans?, p. 108). ]

420. év trois dvw vexpoio.: (1) by a surprise for (Gor, im-
plying that the Athenians are stupid enough to be dead.
Aristoph. elsewhere calls them mpé8ara, and vexpol were more
helpless still; cf. Sen. Hp. 60 quosdam ne animalium quidem
sed mortuorum loco numeremus (quoted by Blaydes); (2) there
may also be a reference to the famous lines of Euripides ris
oldev ei TO Shy pév €ore kaTOavety, | TO kaTOaveiy 5é Shy KaTw vopt-
ferat; (3) meanwhile &vw perhaps alludes to the Pnyx and its
stupid deliberations (cf. dvw xa0jcac). It is quite in keeping
with the condensing genius of Aristoph. to suggest all these
notions at once. [A reference to ‘making political capital out
of the dead at Arginusae’ is not likely.]

421. ra mpata: cf. Hdt. 9. 87 Adumrwy . . Alywnréwy ra
mpara, Eur. Med. 912 Kopw6ias ra para, Lucr. 1. 87 ductores
Danaum delecti, prima virorum.

éxet, ‘on earth’ (reversing the usual sense).

poxOypias: instead of an expected dyuaywylas or wodirelas
(schol. ) ; more antithetical, perhaps, codias or aperjjs.

431. txour’ dv odv «.t.d.; ody is somewhat difficult if Dionysus
has not already addressed the mystae. Possibly, however, it
may be a conversational idiom, ‘ Well now (when you have
said your say), could you tell us. .’ :

432. Sov ’v048’, ‘where hereabouts’: cf. Soph. Phil. 16

ckomew 0 brrov ’or’ évradOa Slatouos wérpa | Todd’.

433. févw yap x.7.X. : a line of tragic rhythm and delivered
in ap «ae tone. This and line 436 are perhaps taken
directly from some tragedy, the latter being quoted again in
Piut. 962.

435. yd’ ats éravépy : because there is no need.
437. alpot dv: sc. Ta orpwuara ; cf. 502.
438 sq. tl fv: 39 n. GAN FH: 227.

Avds Képiv00s: a proverb (cf. Hecl. 828, Pind. NV. 7. 104)
for nauseating repetition. Xanthias is tired of hearing nothing
but aipo’ dy. The origin of the expression is thus explained :
A Corinthian envoy, calling upon the Megarians for certain
claims, kept repeating that 6 Avs Képwos (legendary founder
of Corinth) would have reason to be vexed if the claims were
not met. Weary of the threat the Megarians shouted mate
maie Tov Ards KépuvOov, and expelled him with blows,

440-457 NOTES . 147

But Xa, is also punning upon the insect (xdpis) which was
the plague of Greek bedding. These are humorously called
‘Corinthians’ in Nub. 709 éx rot oxliwmodos | Sdxvovot pw
é&éprovres of KoplvOix. [That orpapyara were especially manu-
factured at Corinth appears irrelevant]. ,

440.sqq. xwpeire viv . . We have reached a new stage in
the proceedings. The kv«dos is the sacred enclosure (zepi-
Boros), within which was the ddoos or ‘lawn,’ 0e4 being
Persephone. The priest himself chooses the better part
(444 sq.).

445. mavvux({ovorw ea: the dat. of the recipient of honour.
Cf. Lys. 1277 épxnoduevor Oeotow, Nub. 271 lepdv xopdy torare
Nvydas, Xen. Hell. 4. 3. 21 credavoicbar r@ Oeg. The order
is olcwv héyyos ob mw. 8. They are not actually now at the
mavvuxis, but he will go with them to the usual place and will
carry a torch when they revel this evening. Neil (Zg. 1319)
shows that é€yyos is particularly used of mystic lights.

448. todvppddouvs. There were several species of wild rose
in Greece as well as the cultivated rose; but the word is
apparently used in a wider sense than with us. In any case
the pddov is the typical flower (riOjvnu’ Eapos éxmrperéorarov
Chaeremon, fr. 13). To the happy meadows of the uwiora (and
presumably of Agrae) the expression is appropriate (cp. Prop.
4. 7. 60 mulcet ubi Elysias aura beata rosas).

450. Tov jpérepov . . Evvdyouow, ‘sporting in our (own
special) manner, the manner of loveliest dance, which (our)
happy fortunes bring together,’ i.e. we are blest by the dis-
pensation of fate, which permits us to join together (here) in
our dance, the finest of all dances that are. While the other
departed dwell in gloom, the initiated are uniquely happy, in
that they are able to meet thus in a region of special light.

Evvdyourw=tuvdyew tds roiodow (or éGow) and dABrar
potpar are virtually personified (as if=éABodédrerpac Motpac). Cf.
Av. 1731 “Hpa mor’ ’Odupria | . . dpxovta . . wéyar | Motpar
Euvexdjmucay. There is a slight laxity in 6v, which implies a
previous xopod in place of caddyopwrarov.

There is meanwhile an allusion to the present Chorus, which
has a peculiar and excellent manner of dance and wit, happily
put together and deserving of the prize.

454, pdvois yap hiv . .: cf. 156 n., Soph. fr. 753 rpurddBuot
| ketvor BporGv, ot Tara Sepxbévres TéAn | wddAwO’ és“Ardov: Toigde
yap movors éxet | Shy ort, Tots F dddowor Wav’ exe? Kad,

457. Sijyopev: viz. when on earth.

148 THE FROGS OF ARISTOPHANES 458—465

458. tepl tovs Eévovs kal Tois i&tHTas: (1) the formulae of
the mysteries in all probability insisted on edoéBea towards
févo. and (e.g.) the helpless ; (2) the Choruses in Aristophanic
comedy do not attack gévo and ‘private citizens’; they confine
themselves to legitimate satire of public characters. Other
comedians, it is hinted, may be less scrupulous. As usual, an
expression appropriate to the pvora is deftly applied to the
play, with a rapa mpocdoxiay in iéwras. [That t8éras should
=moNlras in opposition to £évous is impossible. Nor can there
be any natural reference to the Spartan fevn\acla. ]

460. The scene has changed only to the extent that the
door (cf. 436) now appears, and the travellers approach it.
The chorus is still close by (see 532).

462. ot p12) Starpiers, GAAG K.7.A. : see 202 n.

yevoe=reipdoer, a humorous application of the verb, which
is, however, frequent enough as a metaphor with words like
méovov, kwdvvov, or of blessings (é\evdeplas, etc.). Nearest to
the present place is Soph. Ant. 1005 evOds dé deicas éumripwr
eyevounv.

463. To oXfjpa Kal rd Afjpa, ‘look and pluck.’ Ajua is
not a word of common life or prose. Here its use is deter-
mined by the jingle (which assists the sarcasm) ; cf. Ach. 269
paxav kat Aaudxwv, and (more seriously) Plat. Menex. 238 8B
drwy KTHoly Te Kal xpjow.

464. tai mai: see 37.

Aeacus is represented as the (slave) doorkeeper; cf. Luc.
Dial. Mort. 20. 1 oi6a oé, S7t rudAwpets (Menippus to Aeacus,
who is acting as his mepinynrjs in. Hades). In works of art
he was depicted as carrying the keys. [The usual account,
however, makes him one of the three judges in Hades, his
special province (according to Plato) being to deal with
Europeans.] His manners are typical of the @vpwpds (39 n.),
although here his anger has its excuse.

Hpaxdfjs 6 kaptepds: said with an air and an attitude.
kaprepés is itself a word of the higher style.

465-479. The whole of this speech is more or less a travesty
of some tragic passage. The scholia tell us vaguely that the
original was in the Zheseus of Euripides; others suspect it
to have been in the Peirithous (or rather Perithous), in which
Theseus is engaged, but which is quite a different play. We
know hardly anything of the Theseus, except that it was con-
cerned with the Minotaur expedition, whereas the Perithous
deals with the expedition of Perithous and Theseus to Hades,

465—472 NOTES 149

and includes the descent of Herakles to fetch Cerberus. [The
play was sometimes attributed to Critias.] In antiquity dramas
are not rarely cited under wrong or alternative names, and the
probabilities are evidently in favour of the Perithous.

465 sq. ® BSedvpé k.7.A. = ‘You shameless, impudent, audacious
creature ;| You wretch, you utter wretch, you prince of wretches.’
All the words (including BSeAvpé ; cf. Ach. 289, Theoph. Char.
11, Plat. Rep. 338 D) express shamelessness. The accumulation
of abuse is paralleled in Pac. 182; ef. fr. 92. Similarly Hamlet
says, ‘O villain, villain; smiling, damned villain!’ A final
ov is part of the phrase in such cases. [See Introd. p. lv.]

467. Tov Kiv’ hav: as Aeacus is the Ovpwpds, so Cerberus is
the house-dog, which was under the care of the porter and was
kept in the mpdéd@vpoy or in the porter’s lodge; cf. Hg. 1025
and Theoc. 15. 43 rav xiv’ ow Kddeoov, Tav addelay amoKdgéor.

é&eAdoas: from his post.

468. amytas . . AaBdv: the tautology of grievance, the
metre also being tragic in its indignation.

469. éy®: hence the special vexation, ‘Z was responsible
for him.’

exer péoos: a frequent metaphor from wrestling; cf. Nub.
1047 edOvs ydp o éxw pécov | \aBwv &duxrov (‘I have you on
the hip’).

470. rola x.t.A. : tola (for rovair7) shows that tragic diction
is beginning.
2rvyés . . wérpa: the real Styx (of which a copy was
transferred by the imagination to Hades) was a lonely and
gloomy waterfall in N. Arcadia, near Nonacris. The precipice
of the Aroanian mountains from which it fell is the sheerest
and highest in Greece, and is extremely forbidding. The water
itself was (and still is) considered to be deadly, whence a
modern name Mavpavépia, ‘Black Waters.’ The notion in
eXavoxdpdios is that of a thing black and hard to the core.
he blackness is that of iron (Hes. Op. 151 pédas & ovK eoxe
aldnpos), the unbending ; cf. Pind. fr. 88 ds wh 160 Kupaiverat,
€& ddduavros | } ovddpov KexddAKevTar wéavay Kapdiav.

472. twepl(Sponor Kives: the Furies, who are ‘dogging’ or
‘hunting’ fiends; ef. Aesch. Cho. 923, Hum. 246, Soph. Zi.
1387 werddpouo Kaxav ravovpynudtwr | aduxro kives. [But
there is also an allusion (cf. 477) to yuvatkes mrepidpouoe (Theogn.
581), ‘wantons,’ who are xiéves as being shameless, and Kwxurod
kives as being ruinous. |

150 THE FROGS OF ARISTOPHANES = 473—481

473. "Kydva : the monster of Hesiod, Theog, 298 Huov perv
vingny ékwmida Kaddurdpnov, | ucv 6 avre wédXwpov dquw
dewdv Te wéyav re. There is no record that she was hundred-
headed (an epithet of Typhon), but poets were free in such
inventions. [In Eur. H. F. 883, where Topyav Avcoa employs
exatoyKképara dpéwv iaxjuara, the notion is simply of a hundred
snakes hissing about her. ]

475. Tapryola pipawa: this sounds as if it should be
something very terrible. Taprnola (with delay on the first
part) suggests Taprapela ‘of Hell,’ and in one of its senses
pUpaiva Was a venomous sea-snake, between lamprey and viper,
whose very touch might mortify; cf. Aesch. Cho. 992 ri co
doxet ; pvpawd vy elr’ exidv’ epv, | onwew Oyodo’ dv; Ath.
3128. With the usual condensation of Aristophanes the words
suggest yet another notion. Tartesus (i.e. southern Spain
about the mouth of the Guadalquivir), and particularly Cadiz,
was notorious for vice, and a ‘Tartesian bloodsucker’ was a
shameless woman (cf. yad Taprnoia and the explanation of
Phot. 280. 7 that uipava is a by-word for xaragepis, from the
habits of the animal).

Meanwhile, however, uvpawa is the lamprey, of which the
choicest came from Tartesus (Poll. 6. 68, Aul. Gell. 6. 16. 5).
Dionysus is, therefore,—if he chooses to take it so—threatened
with ‘luscious lampreys.’ But he is already in such a stat
of terror that the very sound is sufficient. é

477. Topydéves TeOpdora.: we do not know what adj. stood
in the parodied original. Ac8vorixat would suit the Gorgons,
but bears no resemblance to Tes@pdo.w. Tradition placed them
variously—in the remote west, in Africa, or in Hades (Hom.
Od. 11. 633). In any case Aristoph. substitutes creatures
equally terrible, viz. women of the Attic deme of Teithras,
who must have been of low repute.

478. ép as, ‘to fetch whom.’ The line is fully tragic in
both metre and language. opphow is most probably intrans.
with cogn. accusative; cf. Eur. Alc. 1153 vdorimov 6 &dOors
766a. Such expression is favoured in tragedy, and the comedian
makes the most of it. The same construction should be assumed
in Soph. 47. 370 od« doppov éxveuj moda; ibid. 40 mpds ri
duchiytorov 5 néev xépa; 42 woluvats THvd’ éemeurimre Baow,
ete. :

479. Dionysus collapses. He has a sinking in the pit of
his stomach, is fainting, and requires refreshing with a sponge.

481. twa. . dddAdtpiov, ‘some stranger’ (not one of our-
selves).

482—494 NOTES 151

482. otoe: a unique form of imperat. for Attic Greek (viz.
with -e from an o- aorist). This common colloquial word has
alone retained a formation which was once common (Brugmann
Gk. Gram. p. 319, § 378).

mpos tiv Kapdlav: apparently the usual place to apply the
cold water in cases of fainting. When the old man in Vesp.
995 is about to faint he cries otuor, rot ’of’ Uowp ;

483. mpooQot, ‘apply it (to yourself).’ The word must be
said by Xanthias; as an order of Di. it would have been
mpocbes. For a good example of the difference of voice cf. Eq.
1227 xarabod taxéws Tov crépavor, ty’ éyw TovTwl | adrov TEpLOd.

mov ’oriww; viz. the sponge. On receiving it, he does not
apply it to his heart, but lower.

Xpvoot: often applied to gods ; cf. wodutiuyro..

485. els Thy kato pov KotWlay: it is a rule of Greek that,
when a simple noun and article are used with avrod, tuav, nudr,
airaév, these words either follow the noun or precede the
article ; ie. # wou Ko.Ala is not Greek for 7 Kowa pov or pov 7
ko.Nla. The mss. of Aristoph. give one instance to the con-
trary, viz. Lys. 417 rijs wov yuvatkds, which all editors reject
for THs yuvaixds pov. But the rule does not apply to a case
like the present, in which another qualifying word comes
between art. and subst.; cf. Thuc. 1. 144 rds oixelas judy
dpaprias, Plat. Symp. 189D 7 radar Hua pvors.

486. ® Serdrare Oedv od KavOpemwv: in addressing a
human being Xa. would have said de:Nérare dvOpérwv. With
a laughable novelty he is obliged to say #edv, but he adds—
‘and (for the matter of that) of men.’ No human being could
be worse. But he is led to this by a reminiscence of e.g.

& dedv ripavve KavOpwrwv ”Epws.

487. mwas Sedds k.7.A. : i.e. to call for a sponge means a desire

to fight it out.

490. amrebynodunv: cf. Hg. 572 (after one fell) Toor’ arew7-
cavrT’ dy, eit’ HpvovvTo wh wemTwKevat,

491. dvSpetd y’: sc. remrolynxas or elpynxas. The ye is regular
in such brachylogy (which is not always sarcastic); cf. 9.
609 dewda y’, & Idcedov, Eur. 7.7. 619 &fra y’, & vedi.

494. Anpatias, ‘have an itch for pluck.’ The termination
-vav is used of morbid desires (ua@ynriadv, orparnyiav) or con-
ditions (6@0ahmay, vavriav). But adj.-nouns in -fas often
express similar affections or dispositions. It matters little,
therefore, whether we read Anpatids or Anparlas. In either

152 THE FROGS OF ARISTOPHANES 498—sos

case there is probably a pun upon Andy, Aju, the blear-eyed
condition of 6¢@ahula, the coward’s excuse (192 n.). Dionysus
sneers at the pretended courage of his slave.

498. dépe 5 Taxéws adr’, ‘come on! quick with them!’
(sc. the club and skin), elliptical for @épe, dds adrd. [That
avrdé should mean ra oxety, understood from cxevodédpos, is a
less likely answer, though by no means impossible in construc-
tion (cf. 1025, 1466). Moreover, he would say \aBé, not Pépe.]

499. rov “HpakdeogavOlay, ‘the Heraklised Xanthias,’
‘Xanthias & da Herakles’; cf. metédrevkos = wecxrds devkés,
yAukUmikpos =yhuxéws mixpds. Doubtless there is also a sug-
gestion of a combined statue of two deities on one pedestal,
like “Epuabyvn, ‘Epunpaxdys, Znvorocedav, etc. But for this
directly the formation should be ‘Hpax\eogfarOlay. It is not
out of the question that the comedian should venture on
‘Hpaxdevo-, but it is not necessary to assume this, and the
sense is less good.

Brépov eis: like droBdérew eis, of looking at a model.

501. pa Al’: sc. od deidkds oe, ‘certainly you won’t, but
you will be really and truly the Melitean—(hero),’

otk MeXitrys paorrylas: the last word is a surprise for, e.¢.,
Hpws or ddegixaxos (the proper title of Herakles in his temple
at Melite (38n.). The expression forms an equation with
‘HpaxdevogavOias, the ‘ Heraklised X.’ being paraphrased by the
‘Melitean rascal.’ But there must be some further point, and
ovk MeXéirys alludes to some well-known person. According to
the schol. this was the licentious Callias, who lived in Melite
and who wore a lion’s skin @ Ja Herakles in battle (a practice
referred to by Aristoph. in 428-430 of the full text of this play.
KadXlav . . pace . . AeovTAv vavyaxety évnupévor).

505. Srerrev, ‘set about cooking.” Persephone acts like
the ordinary Athenian house-mistress, who herself does or
directs the cooking, except for the special dinner-parties, when
professional udyecpo. were engaged from the Agora.

KaTEepeKTOY XUTpas Ervous, ‘pots of soup made of ground
pulse.’ No definite noun need be supplied, but dcmpiwy or
miswy would come nearest; cf. fr. 88 reir’ Epeckov ériBadodo’
ouod micouvs, Colum. 2. 10. 85 cicera fressa. For the fondness
of Herakles for érvos cf. 62 n. [The spelling of mss. varies
between épextdév and épixrav,.and the question (as with
orimrés orecmrés) can hardly be settled. On the one side we
have dd\eurrés, fevKTds, mecxros, Secxrds, and on the other miorés,
dpuxros. _The rule is for the diphthong to be retained, but
probably both forms were often in use. ]

507—518 NOTES 153

507. KoAAdBous, ‘scones’ or ‘rolls’ (uKpol dpricxo schol.
Pac. 1196). One comic fragm. describes them as yaXaxro-
xp@res. It is best to mark an aposiopesis. The maid is
describing with gusto, but on reaching xo\\dBous she thinks
it useless to continue the catalogue, and cuts herself short with
—aAXr’ elor8. This accounts tor the apparent abruptness of
the single word. [Those who have felt this abruptness have
joined wdaxotvras KodAdBous (cf. Bods ratpos and 207 n.); but
xdAXa Bor are apparently not mAaxodvres. |

508. KdAAtor’, érawa: a polite refusal (made to tease
Dionysus). Xa, is acting up to his new dignity. For ‘No,
thank you’ Greek said also xad@s or (512) mdvu xad@s (sc.
Aéyers = ‘ you are very kind’), and xad@s éxer or Kdddor’ exer
(sc. woc=‘I am quite content’), With xdddor’ here we must
supply Aéyes, not éxe., which cannot be omitted. Latin says
benigne (Hor. Hp. 1. 7. 16, 62), but its nearest equivalent to
Kkdd\doT’, €rawe is bene (vocas), tam gratia est (Plaut. Men. 2.
3. 36). |
508 sq. pa Tov “Amdddw od ph . . mepidopamedOdvra: for
these strong instances of synecphonesis and crasis see Introd.
p. xlii. For wepiopS with aor. participle see Goodwin, WM. and T.
§ 148. .In ultimate analysis the phrase =édv dwé\Oys, od
meprowouat.

510. tpayhpatra=tpwydhia, bellaria, ‘dessert,’ including
fruits (walnuts, chestnuts, figs, beans, etc.) and sweetmeats.
pvyew (‘roast’) refers to the fruits.

512. dp épol: the form €uol is pleading (‘to please me’).
Tavv KaAds: 508 n. Anpets Exov: 202 n. |

513. avAntpis: flute-players and dancing-girls come in at
the wéros or symposium.
615. &repar differs from &\dax (‘as well’) by implying opposi-
tion or comparison. These women are different, a second set,
with other points and performance.

TOs Aێyers; dpxyorplSes; It spoils the attitude if these
words are read as surprised and eager. They are said in a
reflective manner, as if, after all, the matter were worth
considering: ‘Ah, dancers, eh?’ or ‘H’m! dancing-girls ?’

518. adaipetv: sc. from the fire, as we say ‘take off (the
kettle’), or from the spits (68eXoi, d6BeNoKxor); cf. Ach. 1119
and d@pédxew (ibid. 1005 dvaBpdrrer’, étorrare, rpémrer’, apéd-
kere | Ta Nay@a Taxێws).

4 Tpdmefa : not ai rpdrefa ; there is to be no dinner- party,
but only a meal for Herakles.

154 THE FROGS OF ARISTOPHANES ~— 518—s28

eloyjpeto=eicepépero. The word alpew = dépew was commonly
applied to the light tables, which were lifted up and carried in
at the beginning of a meal, removed again for the sweeping
before the wéros, and once more brought in. But colloquially
(in the imperative especially) alpew was synonymous with
gépev in certain phrases by survival of an old use. Cf. Pac. 1
aip’ atpe pafav ws taxos TH KavOdpw, Pherecr. fr. werad. 7
mpdcatpe TO Kavobv, ef d€ Bovrer, mpdogepe, Soph. Aj. 545 aip’
avrév, aipe dedpo.

519-520. mpdticra: other matters may bide their time.
The pompous fulness of expression in tats épxynotpiow tats
évSov otoats should be noted: ‘your said dancing-girls, who
are within.’

avros, ‘the gentleman,’ zpse; cf. the well-known airis eda
(‘the master said it’), the Scotch himsel’, Plat. Rep. 327 8B
npounv (from the slave) drov avrds etn, Theoc. 24. 50 dvorare
uses Tadacippoves* avros dure.

Sri eioépxopar: for the hiatus see Introd. p. xlii.

522. omovdiv moet, ‘take it in earnest’; cf. dpyhv movetoOae
=dpyifecbac and the like. But here moeicOac bears more
obviously the frequent mental sense ‘consider’ (cf. cupdopay
m., dewdv m.). [The support of the Mss., however, is in favour
of orovdiv toeits, and this is quite possible in the purely
objective sense ‘you are making it into (forcing it to be) real
earnest.’ | "

523. oc . . “Hpakdéa “verxedaoa, ‘dressed you up as
Herakles’; cf. Ach. 383 éacare | évoxevdcoacbai pw’ olov dOAwW-
tatov. So far as évoxevdtw differs from oxevdtw it is in the
limitations of the former, which is applied only to dress and
equipment, while the latter is used also of preparing food, etc.
[ Ach. 1096 is recognised as corrupt. ]

For the construction (“Hpax\éa proleptic) cf. Ach. 739 xolpws

. tue oxevdoas. It is identical with e.g. madeve ra copov
(=dore copdr eivat).

527. ov Tay’, GAN HSy tors =‘ I’m not going to do it; I’m
doing it’; cf. Eur. Supp. 551 evruxoior dé | of pév ray’, of 8
écavdrs, of 0 Hdn Bporar.

528. ratr éya paptripopar . . émitpérw: the language
(including the formal éyw) is legal. The loosely constructed
Tatra with uapripowa recurs in Plut. 932. Usually we have
either paprvpoual ria, ‘call to witness’ (antestari), or mw. Ore
(Nub. 1222). But neut. pronouns (originally internal accus.)
are rather freely used where English would say (1) ‘herein,’

529-536 NOTES 155

eg. Toiro xalpw, tatra elders we; cf. inf. 703, 748 n., or (2)
«ttherefore’ ; cf. Nwb. 318 rair’ dp’. . 7 ux mov mwemérynra,
Soph. O. 7. 1005 rotr’ ddixiunry, dws . . ed mpdéail te.

529. wolois Oeots; a familiar form of retort; cf. Nub. 367.
‘What gods (are you talking about)?’ = ‘Gods, indeed !’
Dionysus can pooh-pooh an appeal to his like.

530. Td S¢ wpocdoKfioal o x.7.A. It is doubtful whether we
should take this as simply=ovx dvénrov dé kal Kevov éore 7d
mpocdoxioal oe, ws . .; or, more vigorously, and perhaps more
in keeping with the order of the words, as:an exclamation, 76
dé rpocdoxjoal oe . . ws broken by a parenthetic explosion
ovK dv. kal kevov: i.e. ‘But the idea of your expecting—Isn’t
it ridiculous ?—that you. . .’ The exclamatory infin. may
either take the article, as inf. 741, Nuwb. 268 (rd 6é unde xuvqv

. €Oety Eve . . ExovTa), or not.

531. os SotAos «.t.A. A tragic line, and probably a quota-
tion. The art. is not required (i.e. d\xujvys), the sense being
‘a son of Alemena.’

532. dpéder, Kaddas: &y’ att’: sulkily: ‘Never mind! all
right! take ’em.’ air’ (cf. 498) is probably for a’rd (sc. 7d
dépua kal ro pdradov) rather than avro (sc. 7d dépua of 528).

533. €400 SenOe(ns dv «.t.A.: another tragic line, but @éAor
is good Attic for ¢@é\oi in this particular phrase (see Introd.
p. xxxvi). Elsewhere, unless in parody, it is rare. Yet cf. Zq.
713 éyw & éxeivov karayend y’ doov OédXw, Lys. 1216.

534. tatra péev: there is no answer to pév, since dé of 538
only carries on the same notion.

votv €xovros Kal dpévas. It is only in this combina-

tion that gpyv is a word of ordinary life. Cf. Thesm. 291.
_ Orators sometimes use it in their higher style (see Rutherford,
New Phryn. p. 9).

535. mwoAAd amepuerevKdros = ‘one who knows his way
about.” Much experience teaches the modern traveller (par-
ticularly the commercial) how to make himself comfortable
in trains, ships, or hotels. Long journeys among the Greeks
were chiefly by sea. There may be an allusion to the zrodv-
Tpowos Or moNvuntis "Odvoceds (ds pdda woAd\d wAdyxXOn Hom.
Od. init.), but we need not press it ; cf. 1113.

536. peraxvAlvdev. It is disputed whether Attic writers
used xvdwdéw=xKvdAlvdw, and some assert that xvAivdw is the
only active form, while in the middle the choice is between
kvAlvdouat and xadwdotua. But this dictum can only be

156 THE FROGS OF ARISTOPHANES — 537—s49

upheld by considerable and arbitrary changes of Mss. See
Kiihner-Blass ii. p. 453 against e.g. Cobet (WV. LZ. 454, 459,
637). Still «vAivdw is the better supported for Aristophanic
dialogue.

537. mpos Tov ed mpdtrovta trotxov, ‘to the comfortable
side (of the ship)’; cf. Eur. fr. 89 Z0évedov eis rov edrux7F |
Xwpotvra totxov, Or. 895 émi rov etruxH (se. Totxov) | rnddo"
del KipuKes.

yeypappevynv eikdv’: like the English ‘a graven image.’

he notion is of lifelessness. Blaydes quotes Hamlet 2. 2
So like a painted tyrant Pyrrhus stood, | And, like a neutral
to his will and matter, | Did nothing.’ Cf. Aesch. Ag. 253,
and dvdpidvros ddwvdrepos.

541. Onpapyévovs, ‘and a natural—Theramenes,’ an effec-
tive mapa mpocdoxiav for e.g. ppoviuov; cf. 363 Owpukiwr dv.
Theramenes, called the xé@opvos (the boot which fits either
foot), was treated by his opponents as a political weathercock.
Modern historians are, however, inclined to regard him rather
as the most far-seeing statesman of the day. In 411 B.c. he
was one of the revolutionaries who established the 400 with the
understanding that the number of voters in the constitution
should be 5000. Finding that a narrow oligarchy was being
threatened, he worked for the recognition of the 5000, and
assisted the overthrow of the 400 and the subsequent restora-
tion of the democracy. In 406 B.c. he was a trierarch at the
battle of Arginusae, and, among the charges and counter-
charges between generals and captains, he became a prominent
accuser of the generals. [The truth of the Arginusae matter
will probably never be known.] His connexion with the
oligarchy of 404 B.c. and his temperate behaviour in it belong
‘to the year after this comedy. Aristotle (Ath. Const. c. 28)
expresses a high opinion of him and sums up the position
excellently. He was not so much concerned with the forms of
government (of which the best might depend on temporary
conditions) as with their wisdom and justice. Such a man
is sure to please no party.

549. A female innkeeper appears upon the scene (the inn
itself not being visible), and taking Di. for Herakles, calls to
her servant. It is usual to speak of two innkeepers, presumably
partners, and some texts mark them as zravdoxev’rpia a’ and fp’.
This strange notion is apparently based on a wrong attribution
of v. 570 (q.v.). The schol. rightly describes Plathane as the
maid. The business of innkeeper was one in low repute.
Travellers of position were generally housed by éévo. Those
who resorted to an inn brought their own orpwuara, which

549-554 NOTES 157

they laid on mats (Yia@a). They might also bring their own
provisions, or give the landlord money to purchase them, or
‘board.’ Theophrastus (Char. 6) gives it as a mark of dmévora
that a man is dewds wavdoxetoa . . Kai undewiav épyaciay
aisxpav dmodoxidca ; cf. Plat. Legg. 918 D. A mavdoxe’rpia
required a shrewish tongue. Sometimes Athenian women
undertook this occupation, but the woman here is, more
characteristically, a “éroixos (see 569).

TIAaSdvy : invented from mAddavoy, a kitchen ‘shape’ or
‘mould’ (rAdoow). Cf. Theoc. 16, 115 eféata 5 bc0a yuvaixes
él m\abdvw movéovrat. We may perhaps render ‘ Patty !’

6 travotpyos ovroot, ‘ yonder is the rascal.’

551. éxxalSexa. Greek frequently says ‘sixteen’ (cf. Luc.
Prom. 3, Tim. 23, etc.), for our ‘ baker’s dozen’ or ‘score.’
For a smaller indefinite number it uses rérrapes (914).

552. ékelvos avros Sfjra, ‘ yes, (it is) that man’s very self.’

Kakov Ke Til, ‘somebody is in trouble’ (viz. Di.). The
allusive ris (cf. 554) is common in threats and sly or malicious
references; cf. Theoc. 5. 120 7#6n tus, Mépowv, mixpaiverat,
Soph. Aj. 1138 roit7’ eis dviav rotros Epxerai rw, Aesch. S.c. 7’.
389, etc.

553. kpéa. The plural of xpéas would naturally be xpéa (i.e.

kpea-a), but xpéa (from the analogy of neuters of other stems)
is the only comic scansion.

554. dv tyrwBodrrata, ‘at the rate of half-obol pieces each
time’ or ‘in mouthfuls worth half-an-obol each.’ _Those who
render ‘twenty plates of meat worth half-an-obol each ’ are con-
fusing dv’ nutwBodata with either the simple jucwPorata or (7d)
av’ nurwBdrLov or (Ta) NucwBoriov. It might be urged that, toa
mavdoxevrpia, such confusion of expression is quite possible.
-In fact, however, the comedians do not make vulgar people
talk a vulgar Attic, the normal language being broken only in
the case of éva. [Others write as a compound avynpiwBodraia,
in a sense ‘ three-farthings-apiece plates of meat,’ the adj. being
=(rd) dv’ HutwBdrvov. For the price itself cf. Eupolis ap. Ath.
328 E juwBeriov kpéa. The compound is nevertheless curious
and illogical, and cannot be supported by e.g. xadoxdyalia.
Such an expression as that of Timocles (Kavuv. 1) rv dv’ éxrw
rovBorod might just conceivably, but not very probably, be con-
verted into an adjective in which the termination -atos (as in
dpaxuatos) is combined with the da»(é) which is Synonymous
with it. But since the dy- is, after all, redundaut, another
specimen should be forthcoming before we accept such a form. ]}

158 THE FROGS OF ARISTOPHANES — 554—s64

HproBoAaia, The spelling of Attic inscriptions is yumwBédduor,
the o being used only where another o immediately follows
the A. Thus rpewBorov, but duwBedia (Meisterhans’, p. 18),

555. ta oKkdpoda, ‘ those cloves of garlic.’ The supply of
garlic was part of the business ; cf. Lys. 458 & oxopodoravdoxev-
TplLapT om wALOES,

556. sq. od pév ody. . ért: nota question, but=‘ nay, you
fancied . . ... The idea that the xd@opyvo. (46) would form a
disguise is facetious enough.

exes: assimilated to the tense of mpocedéxas. The clause
oTty elxes might be represented by éywy, the time of which is
that of mpocedéxas.

av yvaval o er. The difficulty of dvayvavar is not in the
tense without dv, since mpocdoxév with aor. is good Greek
(Goodwin, MW. and T. § 135), but dvayryywoxw is not used for
‘recognise.’ Moreover, the break with stop in the anapaest of
fourth foot is of doubtful allowance.

559. obS¢ rov Tupdv ye. The characteristic feminine emphasis
(or vocal underlining) is well illustrated by the recurring ye
here and in 562, 564, 565, 567.

Tadav, ‘dear O dear!’; a favourite word with women.
But rddav is scarcely to be taken as voc. of rddas used as
feminine (Zhesm. 1038 proves nothing). It may very well be
neuter, equivalent to (®) rddAav wdbos (xphua etc.) = ‘dreadful !’
This would account for its use in commiseration of one’s self, e.g.
Lys. 102 6 yotv éuds H5n wévre whvas, ® rddav, | dreorw; cf. the
identical interjectional use of Latin malwm.,

560. tots taddpois: wicker baskets (a\exrol tédapo. Hom.
Il, 18. 568, Od. 9. 247) into which fresh cheese was put to drain
(Theoc. 5. 86).

KkatnoOuev: the imperf. is ‘panoramic’: ‘There he was,
eating (or trying to eat) it, baskets and all.’

561. érparrdépny, ‘tried to get from him.’

564. patverOar Soxav, ‘with the appearance of a madman’
(not ‘pretending’). The words have a tragic sound and
suggest the Mad Herakles of Euripides. [The certain use of
doxety as=mpooroetcOa is practically confined to negative
sentences, in which od doxav moeivy ‘not seeming to do’ (what
one is doing)=‘seeming not to do,’ as Pac. 1051 wh vuv opav
doxauev avrév; cf. of gnu, od BotAoucs, etc. But, as in
English, while ‘seeming not to . .’ often=‘ pretending not
to , .,’ the positive use of ‘seem’ in this sense is by no means

565—569' NOTES 159

so familiar. Apparent exceptions must be regarded carefully. |

Thus Lys. 179 Ove Soxovoas really=‘ being thought to be at

. sacrifice,’ and similarly Eupolis 159. 10. But here ‘being
¢ thought’ is not in point. ]

565. va & Secdoa yé wov. The particles are exculpatory.
[The fem. dual form deodoa is denied for Attic by many
critics (see Cobet, V. LZ. p. 70), who quote Plat. Phaedr. 238 p
d0o riwwé éotov idéa dpxovTe kal &yovre, and maintain that the
dual possessed but one form in nom. and acc. Many (but not
the best) Mss. have Secacatl, and it is suspected that dacdca
has been substituted for this because of y#. Similarly in Soph.
O. C. 1600 rm . . podotoa: of the best Ms. appears asTw. .
porovca in others; ibid. 1676 iéévre kai rafotca seems im-
possible (xafoica: some MSs.), and it is argued that the same
copyist who altered zafévre would have altered idévre if metre
had permitted. In Kccl. 1087 €\xovre is fem. Inscriptions do
do not help much (Meisterhans?, p. 96). Cf. Kiihner-Gerth ii.
pp. 73 sq. We may conclude that the form in -ovre was
clearly the older, but we know that usage (beginning among
the people) did create an analogical form in -ovca, and there
must have been a time during which both were used, -ovTe
being the more strictly literary. ]

566. katnAid, ‘loft.’ Hesychius defines xar7jd\ty either as
the beam supporting the roof or ‘better (as he says) éxplwua
(scaffolding or raised platform) 76 év 7@ otkw.’ Second stories
were common enough in Greek houses, but humbler buildings,
or certain rooms, would have a half-floor or loft (like those of
barns) accessible by a ladder or stairs. This would be used for
stores, and, according to the schol., the domestic poultry
roosted upon it. Another name was peodduy.

567. Tas d0ovs : supplied in the inns to sleep upon.

568. éxpijv: like tempus erat (Hor. Od. 1. 37. 4). ‘(Instead
of standing still) you should have been doing something.’ The
tensé looks to the time of making the choice of conduct.

569. Tov mpootatny KXéwva. In Hades the dead dema-
gogue would naturally be patronus of the same vulgar class
which he affected in life. A pérocxos, or axmanumitted slave,
could have no legal standing except through a mpoordrys, who
represented the alien to the Sf#uos, and was also in a measure
responsible for the conduct of his client. The characters of
patron and client were judged by each other. [The technical
expression for the péroxos was mpoordrny véuew.] Cleon died
in 422 B.c., but had not been forgiven by Aristophanes. For
his patronage of the rabble cf. Vesp. 409,

160 ‘THE FROGS OF ARISTOPHANES — 570-579

570. ov 8 ory. It is usual to give these words to an
alleged ‘second hostess,’ who also sends aslave. Besides being
extremely unnatural, this spoils the joke. On being threatened
with Cleon, Di. turns to Xanthias and says sarcastically ‘and
you fetch me Hyperbolus.’ Dionysus (an alien in Hades)
pretends also to have a patron, and one who can out-Cleon
Cleon. Hyperbolus, who had a worse character with less
ability than Cleon, had died in 411 B.c. (Thuc. 8. 74). Cf.
Eq. 1803 &vipa pmoxOnpov rorirny, d&ivnv ‘TrrépBorov.

571. dapvé ; in place of the usual cepady. Latin also has —
gula of a person.

573. kémrow dv. It does not appear why a Greek should
not say ‘I should like to hit your teeth with a stone’ as well
as ‘knock out your teeth. Though Phryn. may have rovs
youdious &ravras éééxove and Semonid. (fr. 7. 17) ov6’ ef xoAwOeis
éLapdéecev MLOw | dddvTas, these are no argument against «ézrew.

[Of course xérrev cannot itself= éxxédmrrevy, ]
:

574. éya S€ y' és Td Bapabpov énBadroupnt oé. The line should
be thus assigned and accentuated, as a retort. Omission of dy
is not infrequent when the previous context supplies it. Cf.
Plat. Rep. 352% "Eo btm av &d\rw tors } dPOadyois ; Ov SFra.
Ti 6€; dkovoas dd\d\w 4} woly; Aesch. Ag. 1049 meifo’ dv, ef
melGou * ameBoins 5 tows. Kiihner-Gerth i. pp. 248 sq.

7 Bapadpov: properly a pit (dpvyua) or gully, about 60 ft.
deep, outside the wall to W. of the Pnyx, into which
criminals and the bodies of the executed were thrown. To use
this expression is equal to calling a person a xd@apya, but
BdpaOpor itself eventually came to possess little more definite-
ness than e.g. és képaxas.

577. GAN ely’ «.7.X. She has already sent the maid (569) ;
here she goes herself.

THhpepov: a frequent use in threats, expressing certainty.
So hodie in e.g. Verg. Eel. 3. 49 numquam hodie effugies, Ter.
Phorm. 5. 3. 22.

578. éxmnyvictrar: from weaving. mnviorv is the bobbin from
which the thread of the woof (xpéxn) is wound off. To wind
upon the reel is rnvifecOa, dvarnvigerOa ; this is the contrary.

Tporkadovpevos : mpdokAno.s is the regular term for the
serving of summons, but the simple xdjovs and kadetoPar are
also used.

579. [Exit Landlady. An awkward pause follows; then
Di. speaks an intentionally audible aside. ]

580—587 NOTES a

580. wate tod Adyov: see 122 n.; cf. Av. 1243 rave rap
TAPAATMAT WV.

581. ovK« av yevolunv “HpakdA‘s dv. It is quite arbitrary to
read af for the second dy. It is in any case doubtful whether
the comedian would use the simple av for radu (or radu adfis,
ad wdduw, ad@cs ad or even ai@is at mddiv). Moreover the re-
peated dv helps the tone, ‘I wouldn’t—no !—I wouldn't.’

The ‘ rhetorical” repetition of &v (Kiihner-Gerth i. p. 247) is
frequent. Cf. Eur. Hipp. 961 rives \doyou | riod av yévowr’ dv ;
Tro. 1244 ddavets dy dvtes ov dv buvnOeiuer dv.

pydapdas: sc. rodro elrys (rovjoys).

582. ® GavOlSiov: from ~avOds. From Zavélas the dimin.

would have been Zav@.-cdvov ZavOtévov (Introd. p. liii). ZavOlas
itself is but a formation from éav@és (=‘Tawny Boy’) and the
wheedling diminutive goes back to the primitive. Analogy
also assists (cf. DwxpartOvov, Evpurtdcov).

Kal wHs K.T.A. Retorting vv. 530 sq.

584. avrd Spas, ‘you do it,’ is as good Greek as English ;
cf. Thuc. 1. 69, Plat. Rep. 358.

585. kdv ei «.7t.A. A sentence of this kind illustrates the
origin of the use of xév as simply emphatic cal. Here dv may
indeed be said to look forward to dyrelroju, but in many
sentences no verb follows to which év could refer. Particularly
was a combination «dv ef favoured for xei (e.g. Plat. Men. 72
xav ei toddal elow, &v yé Te eldos TavTov Gmraca exovor), the
development being probably assisted by a dim feeling of Kav
as=xai diy .. As this use was established before the date of
Aristophanes (Kiihner-Gerth i. pp. 244 sq.) it may be the actual
one here. :

¥% 586. Tod Aowrod xpdvov: the gen. is regular in negat.

‘sentences, while the accus. is as regular in the positive. The
explanation is simple: ‘I will not do a thing at any point of
the future,’ but ‘I will do a thing throughout the future.’ This
equally accounts for the apparent exceptions. Thus 7é ourdv
ov rornow = ‘I will, throughout the future, abstain from doing’
(Thue. i. 56 éxéXevov . . 7d Nowrrdv uh SéxecOa ods . . ereutrov),
and, conversely, in the present place, ‘if at any point of the
future I rob you.’

we. . adbéA@par: sc. avd (skin and club).

587 sq. airds, } yuvq, Ta Tadia. This, with % olka, is the
fullest curse invoked in an oath. Cf. Dem. 1160 ef diopet. .
avros Kal ) yuvh Kat Ta madla, Kal KarapdoecOe avrots Kai TH

M

ri

162 THE FROGS OF ARISTOPHANES = 587—603

oixia. Humour lies in the fact that Dionysus has no wife or |
children. Fora climax he adds the rapa mpocdoxiay, ‘—and
so may the blear-eyed Archidemus’ (417 n.). This would
naturally be a great inducement to Xa. to risk it. yAdpoy is
applied to Arch. by Lysias also (c. Adc. 536).

arodo(unv: sing. as if his ego included the parts avrés, 7
yury etc.; cf. 1408 sq., Xen. An. 1. 10. 1 Bacireds Kal of civ
avT@ duwKwv elowimrer.

589. AapBdvw : sc. the skin and club (not 7dv Spxor)

590-604. These lines convey a suggestion of the admonition
and the answering pledge at some initiatory proceeding.

590-591. éreid} . . etAndas . . & apxfis mad, ‘since
you have once taken (lit. begun by taking) back ..’” mddw
(or ad@s) €& apxis (or brapxjs) is a common phrase, cf. Plut.
221 obk, Av ye mrouvTicwow €& adpxjs mad. [We should not
join rdw pleonastically with dvavedgew, nor untruthfully with
elxes. |

dvavedtew: syllables -U““—aremissing. Scholia supply
the note ceavrov mpos Td coBapéy. Of this ceavrdv is merely a
way of saying ‘‘dvavedgev is here intrans. for dvav. ceavrév”
and mpds 7d oof. explains in what sense Xanthias can be
said to grow young again. Meineke and others actually read
mpos To coBapdy in the text, treating the words as a marginal
restoration of something accidentally omitted. Such omission
is, however, difficult to account for, and more probably there
has been a loss of another verb in hvew.

593. 7d Sewvdv, ‘that terrible look’ (familiar to Herakles).

595. KaxBadets TL podOakdy, ‘let slip any weak (cowardly)
word.’ The verb implies either inadvertence or recklessness.
Cf. Aesch. Cho. 48 goBodua & eros 740’ éxBadetv, Hom. Od, 4.
503 bmeppiarov eros éxBade, Hdt. 6. 69 (dvoln éxB.), Vesp, 1289.

599-601. Sri pév . .: answered by GAN’ Spas .

Stu. . Teipdcrerar . . €& 000 Sr. The phrase e@ of6’ bru ‘1
know that (it is so)’ at the end of a sentence, or HAA Soe
came to be regarded as simply=‘I’m sure.’ Cf. Lys. 154
orovdas rojoawr av Taxéws, ed 010’ 8rt. So odd’ oi8 Sr, cd iol’
drt. The érc thus lost separate recognition, and hence here
(especially at the distance) the first 87: does not Peeves the
second. For the hiatus see Introd. p. xlii.

603. BXérovr’ dptyavoy, ‘looking marjoram’ (cf. ‘looking
daggers,’ ‘look thunder’), ie. with a tart or pungent look.
Bdérew takes contained accus.. in the shape of a neuter adj.

604—610 NOTES 163
(Spud 562) or a noun. Familiar are BAérew varv, xdpdapa,
oxiTn, Supaxas. Cf. the tragic dévoy BX., “Apn dedopxws, and the
pretty éap dpdwoa of Theocritus. [Sometimes an infin. is used,
e.g. Tyudv Brérw Vesp. 847.]

604. Oipas . . Wddov. Greek doors (in two leaves) moved
on pivots (orpopfs) working in sockets in the threshold and
lintel, and unless these were frequently oiled a considerable
noise was made in opening. Cf. foris concrepuit in Plautus
(=éWéodyxev 7 Odpa of his original). It is incorrect to say that
the door opened outwards in the classical time (Dict. Ant. i.
p- 987). : :

kat 87, lit. ‘even as it is’>=cam nunc. Cf. 647, Pac. 942
6 yap Bwuds Odpact kal 54, Soph. O. C. 173 OIA. rpbcbiyé viv
pov. ANT. Pato kal 57.

605 sqq. Aeacus, who had gone to fetch the officers (485),
reappears with two policemen, and afterwards calls for more
(608). :

606. avirerov, ‘be quick: The dual shows that there
were a pair of them.

_ kev to kaxév : D. retorts upon Xanthias (552).

607. odk és Képakas pj mpdotrov. This has been misunder-
stood, or editors would néver have meddled with it. For ov
un mpboirov see 202 n. és xképaxas is inserted expletive
(like the familiar Latin malwm)=‘ You shan’t come near me,
confound you!’ For the separation oik . . py cf. Soph. 47.
560 oro o° “Axadv, olda, wn tis wBplon, Ant. 1042 od’ ds
placua Tolro un Tpécas éya | Odrrev mapyjow. For the inter-
polation of the expletive cf. Aesch. S.c. 7. 238 ot« és POdpov
aiyao dvacxjoy Ta5e; and Nicophron (Mein. Com. Frag. ii.
p- 848) ov és kbpaxas Tw xeEtp’ dmolcets Exroduy ;

elev : pronounced elév, and not as opt. of e(ué (Kiihner-Blass
i. pp. 118, 639). ‘Sot’

Kal payer; ‘ fighting, are you?’ .Xanthias begins knocking
them about with his club.

608. o Atrtdas k.t.X. The Athenian police (roférac) were
Scythians, and the names in -vas and -éxas are to match (see
Blaydes crit. n.). In a country where the police are mostly
Irishmen one may perhaps render ‘O’Rourke, O’Reilly, and
O’Rafferty !’ |

610. cir’ odyxl Sewa «.7.X., lit. ‘Now isn’t this frightful,
that this fellow should be dealing blows, when ‘he is, besides,
a thief and a robber?’ To assign these words to Dionysus,

f
J
j

164 THE FROGS OF ARISTOPHANES 610-621

who is now acting the slave of Xanthias, is to put him in a
very unnatural position. It is sufficient if he annoys X. by
responding sympathetically with pi adAX trepdva.

Tturrew: used absolutely, as in the Homeric Zépupos Aaihare
tumreyv (Ii. 11. 306).

611. KAérrovra, ‘ being a thief,’ the present (of a condition)
in a quasi-perfect sense. Cf. pevywv, adixGv (617), vixdv and
(poetically) rixrwy, Ovpoxwv (Kiihner-Gerth i. p. 187).

ampos=mpocére: cf. 415. pt} GAN’: 103 n.

616. Baodvife: he neatly punishes D. for his remark. The
torturing of slaves was permitted only with the consent of the
master, either on his offer or after a challenge (in either case
mpoxAnots és Bacavov). The conditions were determined by him
(xad’ 5 re ora 7 Bdoavos Dem. c. Steph. 1120), and compensa-
tion had to be made for damage done to the slave (Dem. c.
Pantaen. 978). The usual form was racking (orpeBdodv) on the
wheel (rpoxés), but whipping and other methods might be
adopted by agreement.

618. év kAlpake Shoas . . paoriyov. The rendering is un-
certain; either (1) ‘by whipping him with a cat-’o-nine-tails
after fastening him to a ladder or hanging him up,’ the aorists
being antecedent to pacrvyéy, and xdtwag being a ladder on
which the subject is fastened (man-o’-war fashion), or (2) ‘by
fastening him on a xdtuat, by hanging him up (i.e. witha
weight on his feet), by whipping him’ (the aorists representing
single actions, left to take their effects, while the present
denotes a continuous proceeding).

The latter is distinctly the better for two reasons: (qa) the
variety of methods is increased, (d) the «Aquat was apparently
a kind of rack. Suidas explains as dpyavov Bacavioryjpiov which
Siacrpéper Ta cdpara. Cf. Com. Incert. iv. 622 ry Kdpaxt |
Siacrpépovras Kara pédn orpeBrovmevo. In its action this
answers to the Latin jfidicula (Dict. Ant. i. p. 858), but we
know very little of ancient instruments of torture. [Probably
the x\tuaf was a framework which gradually widened out in
sections. ]

619. torpix(d.: cf. Pac. 746. The word is dimin. of torpg
(‘porcupine ’) and the instrument was evidently full of bristling
points. This was more severe than the ordinary leather udorié,
but less so than the wdorté dorpayadwr}, a knout with knuckle-
bones strung on the thongs.

621. mAlvOovs ériribels: cf. the peine forte et dure.
TA tpdo K.t.A. ; a ludicrous reservation, delivered with

623—643 NOTES 165

solemnity, as if some very extreme method were to be for-
bidden. v\Xov rpdcov was a proverb for the extremely weak
or brittle. Cf. Plut. Symp. 1. 5. 1, where he quotes @v\\w
mpdcov | To Tav Epdvrwy cuvdéderac BaddAdvTiov. But there is
an allusion also to the practice of whipping with shoots of
plants in certain ceremonies, in which a symbolic castigation
was substituted for one that had been originally of a serious
nature. In the case of the gapyaxol, or human scapegoats,
who were annually beaten out of Athens, the ritual required
that it should be done with shoots of fig and squills (cxédAdax),
which were considered purgative (Harrison, Proleg. pp. 100-
102). The wardxn (mallow) was also used: cf. Theoc. 7. 106.

623. 6 Adyos, ‘the proposal’ or ‘ terms.’

624. Ttapyvpiov: what Demosthenes (978) calls } Tywh Tod
matdés, or at least the part of the price corresponding to the

BX4Bn. |
kelorerat=KkaraBeBryjoerat, ‘shall be paid at once.’

625. otrwm=sic, ‘just’ (take him and torture him). Cf.
amA@s otrws, Soph. Aj. 1204 Ketwac & dpuépyvos otrws, Plat.
Symp. 176 E otrw mlvovras pds Hdovjv.

626. kat dp0adpors: cf. prepositional phrases kara ordua,
és xelpas, él Ovpas etc. without article, and see 197, 199 n.

628 sq. a&yopedw tii, ‘I give notice to people (all and
sundry)’. A point has been commonly pierlodied: a&0dvarov
(otherwise rather pointless) plays on ’A@nvatov, and the whole
is a protest of the civis Romanus sum order. An Athenian
citizen could not be tortured.. Dionysus gives his pedigree
(cf. 22 n.) in v. 631.

The lengthening a@dvaroy is epic, but is found in comic
trimeters in Ach. 53 and in anap. tetr. dv. 688; here Di. is
uttering the word with the dignity of a whole Iliad.

632. hyp éyo: sc. dxovew, ‘ Yes, I hear.’

635. tl. . od timre; = quin vapulas? equal to an im-
perative.

639. elvar rotroy tyod pt Sedv: not identical with uh robroy
nyo x.7.X. The position of uy is determined by the sense, not by
metrical convenience : ‘ consider that one to be no god’ (aA
dvOpwrov). Cf. 1416 iv’ 2\O@ns wh udrnv (adda mpovpyov), Soph.
El. 992 ei ppevay | ériyxav’ atirn wh kav (add ayadGr).

643. Anyi apa wAynyhy, ‘stroke for stroke’ ; an adverbial

expression like yjv mpd yijs (éXavvouac), the first rAnyiv being
strictly a contained (or cogn.) accus. with Bacar. understood.

166 THE FROGS OF ARISTOPHANES 644-650

644, i800, ‘there you are!’ Aeacus gives him a blow;
Xanthias pretends to be waiting for it: ‘well now, look out,
in case I wince’ (not indirect question, cf. 175, 339); and “
Aeacus answers ‘I’ve hit you already.’ |

645. od pa Al’ «7.4. The reading of mss. od pa AV’ 0d8’
éuol Soxeis is difficult. If correct, we must distribute thus :
HA. od ud A’. AT. 08d’ éuol doxeis (sc. alcbécOar, which must be
very awkwardly supplied from the general context), i.e. ‘ No.
J don’t think you did either’ (viz. feel it). Others read ov. ua
Al’, ov éuol Soxeis (sc. rardéa).

The reading in the text=‘well, I can only say you don’t
seem to me to have done it.’

646. myvika; ‘at what o’clock (does the performance
begin) ?’
647. kal 8: 604 n., 1205.

KGa was ovk errapov; ‘Then I ought to have sneezed.’ A
lash with a whip might have been expected. to affect him at
least as much as a tickling straw or feather (Plat. Symp. 185 &)
or a draught of air. A sneeze comes of external influences ,
which are often imperceptible. Probably there was a saying at
Athens ‘it did not even make me sneeze.’ ,

649. EIA. otkovw avioes tr; arrarat: AI. rl drrarat;
MSS. agree in ovKovy avices, but the rest is variously written
and distributed. Editions commonly give ovkow davices;
iarrarat iarrarat, but the text is far preferable, since (1) it is
obviously better for X. to be driven only so far as one ejacula-
tion (cf. 657, 659, 664), (2) the formula would rather be drrara?
larrarat (Thesm. 223), (3) avicers 7c is livelier than avdceis, (4)
the confusions are explained.

tlarrarat; ‘What’s the meaning of ‘‘Oh dear”?’ Cf.
Diph. (Com. Frag. 4. 419). A. r4é B. ri wdé; Eur. Ale. 806
HP. dduwv yap (Gorrdvde Seaméra. OH. ti fGow; Phoen. 1725
OIK. dewa dei’ éyd rhds. AN. ritdds; Plaut. Rud. 736 TR.
numgui minus hasce esse oportet liberas? LA. Quid liberas?

650 sq. ébpdvtica od? ‘Hpdkdew «.7.A., ‘an anxious
thought struck me, as to when my festival at Dioneia takes
place.” Dioneia was a deme forming the NE. suburb of
Athens, and contained a temple of Herakles outside the walls.
The celebration of his festival had been interrupted by the
war: cf. Dem. 19. 86 ra ‘Hpdxrera évrds relxous Ove (a resolu-
tion of war-time).

We might have expected yevijoera, but a present is often
used with a future reference, cf. Hg. 127 6 xpnomos dvrixpus

652-659 NOTES 167

Aéyer | Ws mp@ra méev orummevoTwArns ylyvera, 1087 gorw épuol
xpnouos . . | alerds ws yiyver kal mdons yijs Baoievers, Eupol.
Jr. 182 dkove viv Ileicavdpos ws dwéddvrac (Kiihner-Gerth i. p.
138). Such a use is, however, almost restricted to prophecies
(prophetic realisation), and we should understand that suggestion
here. The pseudo-Herakles is not simply wondering ‘ when it
will take place,’ but making up his mind when it 7s to take
place. ‘Let me see; when does my festival take place ?’=
‘when do I decide that it will... ?’ His drraraz is due to
his sudden recognition of a neglected duty.

652. dvOpwiros tepds: editors mostly write dv@pwros. Yet
the former is in no way improbable: ‘(He) is a sacred being.’
Cf. 968 Onpamévyns ; codpds y’ dvhnp kal dewds és Ta wdvTa, where
the metre has prevented similar alteration to avip.

tepds, ‘extraordinary,’ as being under special protection of
some god. Cf. Plat. Jon 534 8B xodgov yap xphua months Kal
iepdov.

653 sq. tod tod: an exclamation of various emotions,
depending upon the tone. Dionysus explains it as a cry of
admiration or surprise, ‘Ho! Ho!’ But his tears need
further explanation.

trméas op®: the actor would look at a portion of the
audience,

Kpopptiov éodpaivonat. Aristoph. probably means a com-
pliment to the warlike behaviour of the immfs. With the
common people onions formed a staple article of military food
(and perhaps, like the garlic, were supposed to impart spirit).
Cf. Pac. 529 rod wév (sc. the knapsack) yap dfe Kkpoujvotévpeyutas.
In £q. 596-610 the knights are praised for undertaking the
same hard labour and eating the same poor food as the humbler
classes.

655. érel mpotisds y’ ovdév, ‘(you say that) because, of
course, you don’t mind (the beating) at all.’

657. olpo. . . tiv dkavOav Ede: it is absurd to suppose
that X. pretends to have a thorn in his foot. If he were a
god he ‘would not feel it’ (634). Nor is there any humour
in the excuse. As a simple explanation of a passage which
seems to have baffled commentators, it may be suggested that
there was a current song containing the words ojo rip
dxavOay éeXe, and that, having let otuo: slip out, he breaks
into the song to complete his sentence. The device is thus
the same as in y. 659 [as if, e.g. ‘O(!)—to be in England !’).

659-661. "AtrodXov: sc. drorpémae. The cry is forced from

168 THE FROGS OF ARISTOPHANES 659-665

him, but he immediately turns it into the beginning of the
quotation of ‘an iambic line which I was trying to recall.’
According to the schol. the verse was not by Hipponax, but
by Ananios. Hipponax of Ephesus (circ. 540 B.c.) ranks after
Archilochus and Semonides as poet of iambi. Ananios was a
contemporary, and the two were evidently coupled, since the
invention of the scazon (or choliambic line) is attributed to
each. The ancients were no more infallible than moderns in
the ascription of lines to their authors.

Ss tov Afjov k.t.A., ‘whose dwelling is somewhere in Delos
or Delphi,’ the exact sense of éyew being to ‘hold’ (as owner,
occupier, or tutelary deity); cf. TZhesm. 316 xpvoodvpa . .
Ajjrov bs éxes iepdv, Aesch. Hum. 24 Bpdmos exec Tov x@por.
The next lines (as quoted by schol.) ran 7 Ndéov 4 Midnrov 4
Gelay KXdpov, | tkov kal’ iép’, XKdOas adléea. {[*O gracious (!)
—emperor, O gentle Aaron!’ (Shak. Zit. And. 3. 1).]

662. ovdtv tocis yap: nihil enim agis, ‘you are doing no
good.’ ‘dp refers to the thought, ‘(He can act so) because . .’
omdde.: Introd. p. li,

663. pa rov Al’: sc. od Tas Aayovas orodjow, GANA. .

viv yaorépa: cf. Herondas 5. 33 cal xidlas ev és 7d veTov
éyxbwat | adr@ KéXevoov, xiAlas bé TH yaorpl. »

664. IIdceSov . .: as if, e.g. ‘Caesar(!)—thou canst not
die by traitors’ hands | Unless thou bring’st them with thee’
(Shak. J. C. 5. 1).

665. ds Atyalov . . BévOeoww: comedy does not object to
departing from the iambic trimeter or other regular metre in
a quotation or an established formula of prayer or proclamation
— (éreddy edxtv 7 Whdiopa elodywow says schol. on the prose
passage in Zhesm. 295 (q.v.)).

The schol. tells us that these words come from Sophocles’
Laocoon (fr. 342), but he quotes thus: 68s Alyatov péders |
mpavas 7 yaukds péders | evavéwou Aiuvas ép’ UWydals oritdderot
croudtwv. Dionysus also is ‘trying to remember.’ In the
text of schol. the first wédevs is plainly an error, and in neither
text has rpvas any construction (since uédes requires genit.).
The emendation <mepl> mpdvas is based upon the ease of

losing epi in its form P. [oroudruy in schol. may be a

misreading for Zropddwyv.] For the whole cf. Soph. Ant.
1118 kAurav bs audémes | Iradlav, wéders dé | raryKolvas *EXev-
owvlas | Anots év xéd\rrois. A question arises as to whether rpdyv
(cf. stnus) is a spur of the sea (i.e. a gulf) or into the sea (a
cape), The former occurs in e.g. Aesch. Ag. 318 Zapwrixod |

670-674 NOTES ~ 169

mopOuod Kdrorrov mpava. Here it is more naturally the latter,
with special reference to the worship of Poseidon at Sunium
and Geraestus; cf. Hq. 560 & deddivwv pedéwv Lovridpare, |
& T'epaicrve rat Kpévov, Eur. Cycl. 294. ,

670. yveoerat: cf. Hom. Od. 5. 79 ot ydp 7’ ayvaires Beol
GAAjAoLoL TENOVTAL,

671. Peppépare’: the Attic form (Meisterhans’, p. 76).
Other forms, chiefly poetical, are Pepoégacca, Mepsépacca,
Pepcedivyn, Ilepcepdvn.

673. mpdrepov . . mplv. ., ‘earlier . , (namely), before. .’ ;
not the mere pleonasm sometimes found.

674-737. Dionysus, Xanthias, and Aeacus have entered the
palace. There follows the interlude known as the Parabasis,
a usual (but not indispensable) portion of the play, in which
the Chorus ‘comes forward,’ leaving the proper theme of the
piece and addressing the audience on contemporary matters,
whether concerning the poet or the state of politics. It con-
sists here of orpopy or @dn (674-685), éippnua (686-705),
dytiustpoph or dvTwdn (706-717), dvremippnua (718-737). This
is the simplest structure of a rapdéBacrs, consisting of what is
technically known as the ‘epirrhematic éufvyla,’ without
certain occasional additions, e.g. the mvityos. The strophe and
antistrophe (sung with dance by half-choruses facing each
other) are attacks on the two popular leaders, Cleophon and
Cleigenes ; the epirrhema and antepirrhema (or parabasis in
the narrower sense) give good advice to the public. It is
doubtful whether these (which were in recitative) were delivered
by the coryphaeus alone, by the coryphaeus and zapaorarns,
or by half-choruses. The second seems on the whole the most
probable. ° |

We must understand that throughout the lyric strophe and
_antistrophe there is parody of passages known to the audience,
but at which we can only guess. [For the political attitude
of Aristophanes see Introd. p. xvi, xxi sq. ]

674-685. An onslaught upon Cleophon. By both Aristoph.
and the comedian Plato’ (who wrote a Cleophon) he was re-
garded with animus, as a low-born and self-seeking demagogue ;
but these are the one-sided views of the aristocratic section
of Athenian society. History tells us only that' de was con-
sistently opposed to the peace with Sparta which was desired
by the oligarchical party. After the successes of Cyzicus (410
B.C.) and Arginusae, and also (later in this year) after the
defeat of Aegospotami, Cleophon would hear nothing of peace,
He was made away with late in 405 B.c.

170 THE FROGS OF ARISTOPHANES 67s5—677

In these lines the comedian charges Cleophon with lack of
public spirit, with foreign birth, inability to talk Greek, and
enmity to peace. The charge of foreign descent was one of
the commonest at Athens. It might mean that a man was
only dSyuorolnros (418 n.), that he had got his name foisted.
on the rolls without claim (zapéyyparros), or that he was only
of citizen birth on one side and therefore vé@0s. The last was
the alleged position of Cleophon, whose mother was said to
be Thracian. Such assertions could easily be made in a city
where péroixo., €évo., and slaves were numerous, and where
‘purification of the rolls’ was no infrequent necessity. Against
Cleophon, however, the charge seems to have been made with
some consistency ; cf. Aeschin. /. ZL. 76 KXeopdv . . mapey-
ypadhels aicxp&s moNdirns Kal dtepOapkws voun xpnudrwv Tov
Ojuov, amoxdWew nether waxalopg tiv Tpdxnrov el Tis elphyyns
pvnoOnoerat.

675. xopav: with émlBnbr ; cf. Hes. Op. 659 (of the Muses)
év0a pe TO Mp@Tov Avyuphs éréBnoav dod7js (‘set me upon sing-
ing’), Soph. Phil. 1463 d6Ens odrore riod’ émiBdvres, Hom. Od.
23. 52, etc. yopav combines the notions ‘dances’ and ‘ bodies
of dancers,’ and éiBn6: is used of (1) ‘entering upon,’ (2)
‘mounting upon’ (to guide like a steed or car). It is thus
neither possible nor desirable here to separate the senses ‘ enter
upon sacred dances’ and ‘ guide (the) sacred chorus.’

tep@y : apart from its primary application to the mysteries,
the word implies a claim to protection for freedom of speech.

émi tépuv, ‘for delight of . .’; including both ‘to find’
and ‘to make’ pleasure in. .

676. Tov modtv . . Aadv SxAov, ‘yon mighty throng of
folk,’ viz. the spectators, practically the whole body of citizens.
For Aadv see 219 n.

épouévy: the sight is worth seeing. codlar, ‘talents’ (of
all sorts) ; a more or less ironical compliment on their literary
taste and political wisdom.

677. puplar, ‘countless.’ The word describes the sorts of
ability ; it is not a literal calculation (10,000) of the number
of the audience, which Aristoph. would rather exaggerate than
the contrary. We do not know precisely how many persons
could be seated in the theatre of 405 B.c. Plato (Symp. 1758)
puts. the spectators of a play of Agathon at tprouvpio, and this,
in round numbers, answers to the calculation of 27,500, which
some have gathered from the remains of the stone theatre of
the next century. There can be no doubt that the seats were
closely packed. [Demosth. (Androt. § 35) calls ‘the citizens’

678-683 NOTES 171

arelous 7) wuplous (if the text is sound), but this is not meant
to be all-inclusive (see Wayte, ad loc.). They are commonly
calculated at 20,000 at least ; cf. Vesp. 700 dv0 wupidde, Aristot.
Ath. Const. 24. 10, but Hecl. 1132 rrecdvev tpicpupiwr. |

678. pirorindrepat, ‘more public-spirited.’ For this favour-
able sense cf. Lycurg. Leoc. 15 mwpds rods Geods edoeBGs Kal mpos
rovs yoveis dolws kal mpds Thy marplia piroriuws, Xen. Mem. 2.
3. 16. |

a&ppirddors: as speaking (1) a jargon, half-Greek, half-
Thracian ; (2) with duplicity; cf. dudiyAwooos (=<diywocos, —
which has both these meanings). For the former cf. dugu-
panrpros, for the latter audirpbowros.

680. Sewodv émiBpeuerar, ‘cries terribly.’ For the middle
verb ef. Pind. MW. 11. 8 Adpa 5é ogi Bpéuerar Kai dordd, Aesch.
S.c. T. 335 Braxal . . trav émipacridiwy . . Bpéuovrat.

681. Opyxla xedvSdv: for the inarticulate swallow cf. 93 n.
Opyxia is doubly appropriate, alluding (1) to Cleophon’s
mother, (2) to the story of Procne and Philomela, and their
successive marriages to the Thracian Tereus. [In the parodied
original the nouns, adjectives, and verbs would refer to the
nightingale ; here they are travestied to fit the swallow. ]

682. él BapBapov éfopévyn méradov: the phrase recalls a
commonplace concerning the nightingale; cf. dv. 215, Hom.
Od. 19. 520 ws & bre . . dnddv | kaddv delinow . . | devdpéwv
év merddoto. Kabefouévyn muxwotcow, and (of the swallow) Pac.
800 drav jpiwd . . xeddwv Efouévyn Kedhadf. For efopévy éart
with accus. cf. 199. The zéradov BdpBapov is Cleophon’s
tongue. Those who quarrel with the expression ‘on whose
lips a swallow cries . . seating itself upon a foreign leaf’ are
hardly constituted to deal with comic parody. [In the original
it may have been the yeldn of some stream on which the
_ Daulian nightingale sang her loss of Itys. ]

683. pvfer: so Dindorf for keAapd{e. (with variant kedadet).
Cleophon ‘snarls you an ’t were any nightingale.’ The word
is exactly of the condensing sort which the comedian would
use, if Cleophon’s manner was of the kind. An interlinear
adscript xedade? to pvgec would account for the Mss. readings.

érlkXavrov, ‘accompanied by tears.’

a&ySéviov vopov: (1) he is a swallow trying to act the nightin-
gale (a barbarian trying to talk Greek), (2) dndédvios vduos itself
implies tearfulness, (3) we may suggest that there is an allusion
to “Héwva, a Thracian people, whose name was often given to
Thracians in general. |

.

172 THE FROGS OF ARISTOPHANES 684-687

684 sq. Os arodetrar, Kav oar yévwvrar: generally rendered
‘he is sure to perish, even if there prove to be equal votes
(WHpor),’ it being assumed that he was at this time threatened
with a trial (or with ostracism, a process which had been
discredited by the case of Hyperbolus, but which had probably
not been abolished). We know nothing of any such trial ;
nor is it easy to see how—unless possibly as a moral result—
Cleophon could be undone by equal votes. By Athenian law
equality of votes meant acquittal: cf. Eur. Z7. 1268 kal rotor
Aoutrots bbe vduos TeOjoerat, | vixav toas Whpoiot Tov PevyorT’ del,
Aesch. Hum. 744, Aeschin. Cfes. § 252. It appears, it is true,
(from Hesych. and elsewhere) that o@fecOa kav ica yévwvrac
was proverbial for ‘escaping by the skin of the teeth’ (or
rather ‘a miss is as good as a mile’). It might, therefore, be
suggested that dzodetra: is substituted mapa mpocdoxlay for e.g.
cwOynoerat. Yet, to have any point, the order would need to
be ‘ that, even if the votes prove equal, he will—be done for.’

We shall do better to supply ozovdai in place of ida:
‘that he will be done for, even if fair terms are got’ (from
Sparta). The comedian thus humorously applies the proverbial
kay tocar yévwvrat in a new sense. Cleophon’s political position
depends on the continuance of the war, and he will be ruined
by peace, even if just and fair (or ‘equal ’) terms are obtainable.
Ellipsis of a noun (youn, Pidos, dikn, mrnyh, pmotpa, etc.)
occurs where the word would naturally suggest itself. No
further rule can be laid down, nor does the context necessarily
contain the cognate verb: cf. Soph. O. 7. 810 od phy tony
ereoev. :

[We may perhaps render the strophe thus:

O Muse, inspire our sacred choir,
And lend all joy to my song:
See, wisdom and wit, without end they sit
In this grand Athenian throng.
Of higher sort their aim
Than. Cleophon’s selfish game ;
On whose lips, that babble their mongrel Greek,
A swallow doth gabble with fearsome shriek,
And sits on a leaf,
And snarls its grief,
Its Thracian tale of the nightingale ;
That tearful strain how, when we've won
The fairest of terms, he’s dead and done.]}

686. tepdv: 675 n.

687. Evptrapaivety : more modest than wapaiveiv ; the chorus

687—693 NOTES 173

simply ‘lends its help’ to the good cause. The force of Evp- is
felt with Si8doKew also. Cf. Soph. Ant. 537 kal Evuperioxw
kal dépw THs airlas, Xen. Cyr. 7. 1. 1 mpoojnveyxay éumceiv cal
payetv.

fpiv Soxe?, ‘we move that. .

>

688. éicaoar: explained by the following words. There
is no special reference as yet to the franchise (692), but to the
removing of prejudice and party oppression.

689. Kel Tis . . twadalopaciw. Phrynichus is treated as
the prime mover (with Peisander and Theramenes) in the
oligarchical revolution of the 400 in 411 B.c. Cf. Thuc. 8. 68
mapéoxe dé 6 Ppdyixos EavTov diadepdvTws mpobvudrarov és TH
d\vyapxlav. He was the most stubborn in upholding it, and
was assassinated in the Agora in consequence. Aristoph. is
not without sympathy for the party, and it is convenient to
blame the dead Phrynichus. ‘The feeling of the djmos had not
died out in the intervening years, and the justice of its
suspicions was proved by the events of 404 B.c.

opadeis . . taralopacw . . ddtcotow: sustaining a
familiar metaphor from the palaestra. Phrynichus had been
too clever for simpler people. |

691. airfav éxQetor. The legal expression ‘declared cause’
dispenses with the article. The poet does not wish them to
rake up old questions, but merely to ‘state a case’ which shall
amount to an acknowledgement, a plea, a request for pardon.
For the active Atoat, of ‘undoing’ an obligation by paying, cf.
Ten Avew and Soph. Phil. 1224 Avowr bo’ eEjuaprov, Ath. 227 F.

692. elt’ )( mp&rov 687.

&rusov «.7.A, This advice was followed when, later in the
year, Athens found itself besieged by Lysander: Xen. Heid.
2. 2. 11 rods driuous émitivous tmowjoavres éxaprépovv. Public
enemies and debtors, embezzlers, persons bribed, deserters,
insulters of magistrates, etc. were visited with dita in various
degrees of severity. To propose formally in assembly the
restitution of citizenship in a particular case brought a severe
penalty on the mover, but Aristoph. suggests it in the theatre
as a general policy under cover of his iepds xopés.

693. Tovs piv vavpaxqoavTas K.T.A. The sentence begins as
if an antithetical rods dé rod 04 vavyaxnoavras drimouvs mévew
(or Tots d€ 1. vavyaxjoace i) wapetvar piav Evudopdv) was to
follow. But after v. 694 the writer thinks it well to prevent
misconception as to his attitude, and so begins a parenthetic

174 THE FROGS OF ARISTOPHANES 693—701

qualification, into which the 6é¢-clause becomes incorporated.
The reference is, of course, to Arginusae (33, 191).

play: 191 n.

694. IIdaraas. Long after their assistance to Athens at
Marathon the Plataeans had shown extraordinary loyalty to
the Athenian cause in 427 B.c., when the Peloponnesians
besieged and destroyed their town. They had then been allies
for ninety-three years (Thuc. 3. 68). Those who escaped, to
the number of 212, made their way to Athens (ibid. 24).
By a decree of the people (ap. Dem. Neaer. 1380) it was resolved
TlAaraas elvan "AOnvatouvs évriuovs kabdmep of dd ’AOnvaio Kat
peTetvar avtois Gvmep ’AOnvatos peréore ravrwv ; cf. Lys. 23. 2.
The sense of the present line has sometimes been strangely
misunderstood. It does not mean that the slaves were not
made full Athenians, but had only qualified ‘ Plataean’ rights.
There is nothing to show that the Plataeans were in any such
position. ‘The sufficiently obvious meaning is that the slaves
were treated as heroes, receiving as much recognition as the
brave and much enduring people of Plataea.

697. mpds St: adverbial, ‘but in addition’ (rotrois depend-
ing on twapetvar). Cf. Eur. Med. 410 mpds dé xal redpixaperv
yuvaixes. [It is less neat to join pds 5é rovros and supply a
dat. antecedent to ol. ]

698. yxol mwarépes: grammatically parenthetical, otherwise
strictly xav of 7. or &orep Kal of r. would be needed.

699. tiv play: which disfranchised them. pfav: stressed
in contrast to moAAd 8}. ‘Tadtrynv is added with a certain
contempt (12, 724 n., 1533). §vpbopav: euphemistic for
duaptiav, as if it had been more their misfortune than their
fault.

airoupévois. It is hard to decide between this and airov-
pévous (passive with duds). For the middle cf. Aesch. Cho. 2
owrhp yevod wor EUppaxds 7’ alrouuévy (=inf. 1127), S.c. 7’. 246,
and for the pass. Cho. 478 alrovmevds jor dds Kpdros TY cGy Obpuwr,
Theoc. 14. 63.

700. copotaro. dice: i.e. naturally sensible, but misled
by demagogues. |

701. éxdvres: wltvo. They should rather offer than wait to
be importuned or forced.

ocvyyevets KTHTOEa K.T.A.: not merely=onodpeda, but
‘let us get them (for we need them) for kinsmen, and for fully
franchised, and for citizens.’ The three words are intended to

703—708 NOTES 175

cover all the ground. Aliens (uérocos and gévor), driwor and
slaves are all to be raised to (1) cvyyevets, (2) émiripor, (3) rodtrac.

703. tatr’ éykwodperOa, ‘if we are to be on our dignity in
these matters.’ Cf. 528 n., 748 (kai rod’ fdouac), Hom. JI.
5. 185 rade walvera, and in Latin e.g. il/ud stomachor.

704. tiv wodw Kal ratr’ gxovres x.7.A.: (1) lit. ‘and that,
too though our country is in the trough of the waves,’ the last
words being from Archilochus (Wuxdas é@xovres xupdrov év
aykddaus) ; cf. Hur. Hel. 1062 wedaryilous és dyxddas, Aesch. Cho.
585 mévtiat ayKddat (=Kovddrnres schol.). For the metaphor
cf. 361 rijs médXews xeymafouérys. Kal Tatra, when=praesertim
cum, usually begins its clause, but there is no binding rule.
Blaydes quotes Diodor. (Com. Frag. ii. 546) rhv écopévny Kai
Tatra wéroxov Tod Biov. In any case emphasis will justify
unusual order, and ryv wédw is emphatic. (2) It is not unlike
Aristoph. to pack with this another sense: ‘though we hold
our country in the arms of the sea,’ i.e. though our existence
depends on our sea-power.

[The punctuation arocepvuvotpeba | thy améAw, Kal. .
makes a strange accus., gives éxovres, though without adv., the
sense of dvres, and ignores the evidence of Archilochus for
joining ryv wéduv éxovrTes. |

706. el 8 éyd dp0ds iSetv «.t.A. From the Phoenix (or
Caeneus) of Ion of Chios (schol.), but Aristoph. substitutes
tpdtov . . oipagerar for ® modiAra of his original. The
infin. follows dp@ds as it might ixavds, duvards, dyads, dévs
(Thue. 1. 70). |

Sotis: not=Jds, but either (1) describes the class or (less
naturally) (2) is indirect question.

707. ov8’: no more than Cleophon (684).

_ © alOnKos obtos: ofros of the well-known and with con-
tempt (699, 724). i@yxos to the Greeks was the type not
so frequently of mimicry as of malicious cunning. According
to Eubulus (Com. Frag. iii. 260) it is ériBovdov xaxdy. CF.
Ach. 907 Gmep ridaxov ddurpias modGs wAéwv, inf. 1085. In
Liq. 887 oiows wiOnxicmots we mepedavvers some ancients ex-
pat by dardras, others by wipjuaow (Neil). It here includes ©
oth,

708. Kadeyévns: nothing is known of him beyond this
passage. The nickname 6 mixpds was not rare (cf. 55 n.), but
C. need not actually have borne it. [There is, of course,
parody throughout these’ lyrics, and the original—we may
perhaps guess—contained references to Bacideds 6 péyas
(= Badaveds 6 puKpds), xpnoréraros (= movynpdétaros), who

176 THE FROGS OF, ARISTOPHANES 710—715

ruled over the Lydian river which brought down the golden
sand from the Tmolian soil (e.g. Avdo-, xévios, TuwXlas yijs=
Wevdo-, kovias, KipwAlas yfjs). This would also give a point
to Kparotor. |

A Badaveds was held. in low esteem (Hq. 1403).

710-713. © tovnpdétaros, ‘most niggardly’ (cf. malignus).
The keeper of public baths, to whom a small fee was paid,
could be mean with the soap (f%uua), which might be
adulterated or made with inferior materials. Modern soap is
a compound of fats with (in the ordinary kinds) potash and
soda. For Greek pupa potash and soda formed a powder, and
sometimes this, sometimes Cimolian clay (which contained
soda), was used as soap.

The xovia is called kvkynolrehpos because the making
involves the stirring of wood-ashes in water to produce
‘lye’ by extracting the alkaline salts. After evaporation
the result is potash. To this is added virpov (or, in Attic,
Aérpov), ‘carbonate of soda.” In cheap soap the virpov would
be bad, and the ‘lye’ (or xovia) mixed with such adulterated
virpov is Wevdddurpos.

710. twovnpdétatros . . omdcot: i.e. To’Twy (or mdvTwr)
dméco.. . . Cf. Hom. Od. 6. 150 ef pév tis Beds ear, Tol
ovpavoy evpdv éxovor, Xen. An. 5. 1. 8 eidévar rHv Sivayuv ed’
ods av twuer.

712. Kuywdrlas ys: playing on the senses ‘ruling the
land’ and ‘owning the earth (clay)’ of Cimolus, a small island
of the Cyclades, just N. of Melos, whose soil afforded a natural
soap (v7 opnkrpls). Cf. Ov. Met. 7. 463 cretosaque rura —
Cimolt.

715-717. ov« eipnvixds: he belongs to the war-party.

divev EvAov Badifwv. Surely this means ‘without his staff
(or baton) of office,’ not his ‘walking-stick’ (which every
Athenian carried), but such as was borne by the dikasts, etc.
We do not know what his office was, but it is certain that
many citizens secured public positions through the war and
would lose them if peace were made. In such a case Cleigenes
would be at the mercy of his enemies. The official staff was a
protection, since to assault a magistrate meant driuta., Aristoph.
chooses to put it humorously that, ‘with his drunken habits,’
he might perhaps, ‘if he had no stick,’ meet with a footpad.

[Lines 706-717 may perhaps be rendered thus :

If I can scan the life of man,

And tell who shall smart and how,
Not long shall we see that chimpanzee
Who is such a@ nuisance now,

718—725 | NOTES a ss

Our Cleigenes the small,

Most mean of bathmen alt
Who wield their sway o'er the ash-stirred lye
And Cimolia’s soil and bad alkali.

With this fact in his mind

He’s to peace disinclined,

For fear some day, as he wends his way

The worse for drink and without his stick,

The footpads may play him a nasty trick. ]

718. werovOévar tatrov = rdv avrdv rpdrov diaxetoOa, * to
be in the same state of mind toward . .’ f

* 719 sq. és te. . & te .. ‘on the one side towards those
citizens who: are gentlemen, on the other towards the old
currency and the new gold coinage.” The ‘new gold coinage,’
struck in the previous year from the figures of Nike (as the
schol. tells us on good authority), appears (like the ‘old
currency’) to have been exceptionally pure, to judge by the
extant specimens. These are opposed to the debased currency
consisting of bronze pieces coined ‘the day before yesterday.’
[Prof. Murray in his translation rightly accepts this complete
explanation from Mr. G. Macdonald. ]

721. otre . . 0 (727), ‘as wedonot..so..

rovrouriv: viz. the dpyatov vduopua (of silver) and the xauvoyv
xXpuatov.

otow od KextBdnAcupévors. The treatment of participle as
adj. is not specially rare, and hence another participle (of eu)
comes to be attached. Cf. Xen. Hell. 2. 1. 28 dvecxedacuévwv

. Tov avOparuwv srvTwv, frag. adesp. 470 Blov digKno’ bvra
mplv repuppévov. The development is a natural outcome of e.g.
KextBdnrevpévoe eict. So in act. Eur. Hec. 358 ovx eiwOds dv.

722. kadAXiorois: in purity (rather than in form),

ws Soke: i.e. ‘as is admitted.’

723. 6p0Gs Koretcr, ‘honestly struck.’ Contrast with Lucian,
Adv. Indoct. 2 KiBinda Kai vb0a Kal wapaxexoupéva. —

kekwdovirpévois: 79 n.

724. twavraxod: as in modern times certain coins (e.g. the
English sovereign and the French twenty-frane piece) are
readily accepted and even sought for abroad. Xenophon (Veet.
3) tells how the Athenian silver coin was exchangeable ravraxod
at a profit.

725. Tovro.s Tots wrovypots: for the contempt in rovras cf.
Plat. Crit, 45.4 obx dps rovrous rods cuxoddyras, ws evreNels ;

N

>

178 THE FROGS OF ARISTOPHANES 726—732

and 707. The xadkia (‘mean bits of bronze’) are referred to
in Eecl. 815 ro’s xarkots 8 éxelvous jrixa | éWndiocdped’ ovK
otc@a, to which the reply is cal kaxdv yé mou | 7d Kopp’ éyéver’
éxeivo, for, when in the act of using it, the purchaser was pre-
vented by a proclamation that bronze was to be out of currency
and silver money to be used. The schol. tells us that the
bronze coins were struck 406 B.c., while the cclesiazusae
belongs to the year 392. [Those who have thought that ‘the
new gold coinage’ is attacked have been obliged to take
xadktos as a contemptuous term for gold debased with
bronze. ]

726. x0és . . Kometou: not rots xOés x.7.r., but ‘though
struck . .’ or ‘struck as they were. .’

To kaklorm Koppate, ‘with that most vile stamp of currency ~
(known to us all).’

729. wadalorpais: i.e. properly trained in yuuvaorixy :
Xopots, in religion and its ceremonies: povo.y, in music
and letters ; i.e. well-educated gentlemen. Cf. Xen. Pol. Lac.
2.1 wéurovow eis didacKkddov pabynoopévouvs Kal ypdumara Kal
povoiky Kal Ta év madalorpg. Only citizens could take part
in the gymnasia or dance in the xopol.

730. xadxots, cheap and worthless ; ێvows, of foreign birth ;
amupplats, ‘red-headed,’ i.e. quondam slaves from Thrace and
Scythia. While the three words are applied to the new
citizens they are equally suitable to the base coins, as being
of bronze, foreign to Attic usage, and red in tint. - Ilupplas
(like Xanthias) was a frequent name for a slave (cf. Luc. Zim.
22), and was even used generically for dotdos (e.g. Pherecr. in
Com. Frag. ii. 8327 Midjowws ris wvpplas). Cf. the comic Latin
rufus, implying servus. Among comic masks red hair and red
cheeks were ‘the mark of a roguish slave’ (Haigh, Att. Theat.
p. 239, from Pollux), Van Leeuwen suspects that Cleophon
was red-headed. for a similar metaphorical application of
words of the coinage cf. Ach. 517 dvdpdpia moxOnpd, wapakeKop-
péva, | dria Kal mapdonua Kal mapdteva,

731. Kal movypots Kak Tovynpav: i.e. Kal (Tots) wovypots-KdK-
mwovnpav, rather than kat (rots) movnpois kal (rots) é€x movnpar.
The expression was virtually a compound; cf. Dem. 614 dovAous
kal éx dotA\wy KahGv éavrod Bedrlouvs Kal éx Bedridvwv, Soph.
Phil. 384 mpds rod xaxtorov Kak xaxdv ’Odvocéws, Kur. Andr.
591 @ kdkiore Kak kaxav. Of. also dovAéKdovdos.

732. toraros adrypévoroiv: without article (cf. 726)=
‘last arrivals as they are,’

733-741 NOTES 179

733. ovSt happakotoww eiky padlws «.t.A., lit. ‘would not
without scruple even have used at random as scapegoats.’

padiws has the sense seen in pgdcoupyds (‘with a careless
conscience ’), while eixy means ‘without picking and choosing
among them.’ For the absence of ws from proleptic ¢apya-
koiow cf. Antiph. Com. Frag. iii. 57 rév 0 dxovriwy | cvvdodyres
6p0a rpla AvXVElw XpwmeEOa.

pappakol, sometimes called loosely by the more general
word xa@dpyuara, were two persons (one for the men and one
for the women) kept in readiness, beaten, driven out, and put
to death in purification of the state at the festival of the
Thargelia (May). At this date they were in all probability
condemned criminals, utilised for a rite which would otherwise
have become merely symbolised. According to the schol.
deformed persons were chosen. [The original notion of ¢apuakés
was ‘medicine man’ or ‘magic man,’ whose expulsion and
destruction were supposed to have the effect of magic ‘medicine’
in curing the community (Harrison, Proleg. pp. 95 sqq.).]

735. xpijo0e tots xpynotoiow : a jingle intended to bring
home the etymology ; utimint utendis; cf. 1455.

kal katop0ecac. yap: «al does not belong to yap, but
answers to Kdv: ‘on the one hand . . on the other. . .’

736. é a&lov yotv rod EvAov. There was a proverb dd Kahod
Evdou Kav amrdyiacPa (schol.); cf. Publ. Syr. 911 vel strangulari
oe de ligno twat. Itis an aggravation of hanging to be

anged ex infelici arbore (like John Brown ‘on a sour apple-
tree’). Herodotus (5. 11) has the similar trd détéxpew xal
amobaveiv juloea cupnpopy.

737. Hv tuKal waoyxyTe, TacXew K.T.A. The tenses should
be noted (‘If you come to any grief) you will, even if you are
(in that case) suffering anything, be thought by the wise to be
suffering ‘‘on a respectable tree.”’’

738. An interval has elapsed, during which Dionysus has
been recognised by Plato and Persephone, entertained by them,
and acquainted with the situation between the rival poets.

yevvadas avip, ‘a real gentleman’; cf. 179.
740. 7d Sé wt) wardéar o” : exclamatory ; cf. 580 n.

741, St. . &pacKes: a construction naturally substituted
here for the more typical éfe\eyxO7jvac with participle. éfedevx-
dévra padckovra is by no means impossible Greek, but it would |
have been intolerable to combine ééedeyxOévra doddov dvTa
packovta eivar decwdrny.

180 THE FROGS OF ARISTOPHANES 742—756

742. rotro pévror SovAtKkdv evOds k.7.A., ‘now, in doing that,
you have at once done a thing which marks the slave,’ viz.
in the useless and vapouring threat that the master ‘would
have suffered for it.’

ev0ds in the sense ‘to begin with’ includes that of ‘for
instance,’ the notion being that we need not wait any longer
for an example ; cf. Aristot. Rhet. 3. 4. 6 Gomrep (Gov edO's. So
atrixa (Av. 166) and a’rixa mp@rov (Plat. Gorg. 472¢).

745. xalpes, ixerevw; ixeredw is an expletive= ‘pray’ (sc.
tell me). ‘Do you really, now ?’

pr) GAN: 103 n.

éromrevewv, ‘to bein the seventh heaven.’ The érérrys was
the highest grade of utorns, who had beheld the most sacred
arcana and made sure of his place in the future life; cf. 155,
454, According to Plutarch (Demetr. 26) the step was from
the Little Mysteries to the Greater, and then érwmrevov rov)dd-
xXicTov amd Tay weyddwv éeviavTov diadelrovres. At the mysteries
themselves the érémrns was filled with an ecstatic rapture.

747. rl 8 rovOopi{wv: sc. moveis (or rather mdoxew Soxe?s,
to be supplied from the last words).

748. Kal rod0” HSopar: 703 n. Kiihner-Gerth i. 298 sq.

749. as pa Al’ oddév ofd’ éyd: sc. 7dduevos, lit. ‘in such
degree as I do not know (that I rejoice) in anything (else) ’=
‘more than in anything I know of.’ For the absence of &)\Xo
ef. Plut. 901 AI. od @iddrrons kal xpnorés; ZT. ws ovdels y’ avip,
ibid. 247.

750. opdyvie Zed: an exclamation of growing excitement.
The exact point of the humour of this passage appears to have
been missed. There is a burlesque of the tragic dvayvuépiows or
‘recognition-scene.’ In melodrama the ‘long-lost’ relative
used to be discovered by various indications. [‘ Have you a
strawberry-mark on your left arm?’ ‘Yes!’ ‘Then come to
my arms, my long-lost che-ild’ (which is here represented by
752sq.).] Xanthias recognises his brother by common family
traits. ‘Doyou mutter? Are you meddlesome? Do you eaves-
drop !—Then you are he!’

dpdyvios Zevs is Zeus in his capacity of guardian of the rights
of kinship; cf. Zeds éévios, pidvos, Epxetos, Soph. Ant. 670 Ala
Evvaiuov, Eur. Andr. 922 ad’ dvroual ce Ala kadodo’ opudynov.
Conversely a kindred clan recognise the common patron (deus
gentilicius).

756. opopacriylas: a surprise for e.g. duamos, ouomdrptos,

757—764 NOTES 181

éuounrpos. For ‘the patron of our common birth’ there is
substituted ‘the patron of our common worthlessness.’ We
must by no means render pointlessly and irreverently ‘ who is
a paotiylas like us.’ Fellow pwaorvylae have as common patron
in this relation a Zeds ououacrryias (see last note). We might
perhaps render, ‘God of the bond that lashes us together.’

757. tls ottos «.t.A. This, as a schol. saw, was not the
question which X. had meant to ask, but the noise within breaks
off his sentence. He might perhaps have continued with e.g.
‘What have you been doing all these years ?

759. &. mpaypa mpaypna x.t.A. The mention of the tragedians
suggests a tragic expression, the present couplet with its re-
peated words (cf. 1353-1355 n.) being plainly a parody. To
give &@ to Xanthias is to weaken the impressive solemnity of
Aeacus. |

mpaypa probably contains the sense (also found in mpayos
of tragedy) ‘legal action’ or dispute (causa) ; cf. 1099, Aesch,
Ag. 1537 ém’ Xo tpaGypa . . BAdBas.

761. €or. Kelwevos: cf. 35-37 n., ‘there exists a law in
force,’ whereas xetrac would = ‘a law is in force.’

762. aro Tav TexvOv K.t.X. Itis an error to join these words
to xelwevos, as if dad could mean brd. They belong to what
follows. The use of the resumptive adrév (764) shows that the
preceding line (763) belongs to dd x.r.X. Thus lit. ‘There is
a law that the best among his fellow-craftsmen out of (de) all
the arts which are distinguished and require ability (that man)
is to receive . .. Had the order really been véuos tis éort
kelwevos ad THY Texvorv, (Viz.) Tov dptorov k.T.X. there would have
been no occasion for airév. The best artist is ‘taken from’
each department.

peyarar: i.e. not Bdvavoo,

764. ofryow k.t.A. Rewards to Athenians who had deserved
well of their country included cirnots év mpuravelw and mpoedpia
at public gatherings. Among such persons were Olympic and
other victors, and the same rule here holds in Hades.

avrov: the resumptive is more commonly rodrov, but cf.
Eur. Bacch. 202 marpiovs mapadoyas ds 0’ dunduxas xpdvy |
kexTHpe0’, ovdels adta KaTaBade? Adyos, and Eubul. ap. Ath. 8 B.
[It is possible, though far less natural, to render airdy as
ipsum, i.e. solwm, ‘by himself,’ apart from the ruck of his
confréres. |

év movravelw: equally good with év r@ mpuravelw: cf. 129,
320, Hq. 709 ray mpuravely ouria.

182 THE FROGS OF ARISTOPHANES 765—778

765. pavOdvw. The dramatist puts a word into Xanthias’
mouth simply in order to break his inaction, since there is no
by-play or ‘business’ to engage him during this narrative.
Good instances of this technical device may be seen in the
conversation between Prospero and Miranda (Shak. Temp. 1. 2).

766. ws aplkoiro x.t.AX. For the opt. (as if éré0n 6 vduos
had preceded) see 24 n., and particularly the quotation from
Demosthenes. Add g. 1338 kal ri rovde xphn madeiv; | A.
Kparetv, €ws repos avynp Bdedupwrepos | avrod yévorro. For the
same reason we get @eu (sc. ws én 6 vouos).

768. ti Sita . . Aioytdrov; a quiet assumption that
Aeschylus is of course safe enough. His vuvl 8é tis; is spoken
with amazement.

769. Tov tpaywSiKdv Opdvov, ‘the chair for tragedy,’ i.e.
the mpoedpia in that particular department.

771. Ste 8 KarHAO’, ‘no sooner did Eur. come down.’,
The death of Euripides occurred fifty years after that of
Aeschylus (456 3.c.). For Aristoph. and these poets see
Introd. pp. xv sqq.

émedelkvuto (=érldeéw érovetro), “he began to show off’ to
his favourite and congenial audience, one which would appreci-
ate his immoral casuistries. 5

772. BadAavriordpots. The BadAdvriov (marsupiwm) was
a leather pouch hanging from a girdle. Thieves cut this purse
away (hence Plat. Rep. 348D rovs Ta B. dmroréuvovras). When
the money was carried in the girdle ({wvy) itself, the girdle
was cut (sector zonarius Plaut. Trim. 4. 2. 20),

774. Strep tor’ év” Ardou mAf90s: an attraction for olmep eict
w7HO0s (‘who are a multitude’) rather than @viep éort . . Cf.
Hadt. 5. 108 ryv a&xpnv, at xadedvrac Kdyldes, Verg. Aen. 6. 611
quae maxima turba est (after plurals), and e.g. Pompeius,
quod populi Romani lumen fuit (Cic. Phil. 5. 39).

775. TOv ayTivoyiay, ‘his argumentations.’ Avytopol
and orpodat are words from the wrestling-school, the latter
being so frequently applied to tricks of argument or rhetoric
that it was borrowed by Latin (stropha). Aristoph. is not
thinking of the dialectic skill so much as of the casuistry,
encouraging a loose morality welcome to these criminals.

778. ka0fjoro. The allowable forms of the 3rd pers. are
in Attic xa0jcro (most common), Kka@jro, éxdOnro (but not
éxdOnoro). Kiihner-Blass,* ii. p. 227. [The root is #o- and
the forms in -77o are later than xa@joTo. |

778—791 NOTES 183

kovk éBdddero; ‘and did he not find himself pelted?’
(imperf. ).
779. © Sipos: as if there was an éxxAnola in Hades.

kptow moev: not=xplvew (which would require roeicAar),
but ‘to institute (arrange) a trial.’ Cf. 785 and éxxAnolay
moe )( movetoba.

781. ovpdvidy y’ Scov: sc. dveBda. The shout went ‘sky-
high’ (ef. it clamor caelo). So Nub. 357 ovtpavoujnn pigate
pwviv, Vesp. 1492 oxédos odpdvidy y’ éxaxtifwv.

783. Sormep évOade. Acacus and Xanthias can boast of little
xpnorév between them. The actor meanwhile makes a gesture
including the audience ; cf. 276 n.

785. adyava mouiv: 779n. The division of the tribrach
after the second syll. in avrixa udda is permissible through the
close union of the two words. See Starkie, Vesp, Introd.
p. xl.

787. Lodokdéyns. Aristoph. does not use the contraction
LopoxAyjs. The sole exception occurs in anapaestic dimeters
inf. 1516 Logoxde? (q.v.). But he uses “Hpaxdjjs, as do even
the old inscriptions (Meisterhans*, p. 104), and OQemicrokdfs.
The variation appears to be purely rhythmic, i.e. the contrac-
tion may be used in words in -«Aéys when the fourth syll. from
the end is long, but. not (in comedy) when it is short. Hence
evoxdéns (86), ILepuxréns (Ach. 5380).

788. pa Al’ od éxeivos: exactly our English ‘ not he!’ ;
lit. ‘not that (right-minded) man’; ef. 1144 ov O77’ éxeivos,
dye . . and 1456.

tkvoe pev: answered by vuvi 8’ (791); ‘but he kissed
Aeschylus, I mean (84) when he came down . . and now. .’

~ 790. Kadketvos trexdpynoev «.t.A., ‘and he’ (once more
emphatically, Sophocles) ‘conceded the chair to him
(Aeschylus).’ The conduct of éxetvos is thus strongly opposed
to that of Euripides. [The rendering ‘and he (Aeschylus)
yielded him a share in his seat’ can only have been offered in
desperation, through failure to note this force of éxeivos. Two
persons cannot share a Opdvos, and if Aristoph. had meant
anything so improbable as that Aeschylus was prepared to
make such an offer, he would have said tarexwpe.. }

791. vuvi 8’ tueAXev, ‘and now (in the present circumstances)
he was (viz. when I left them) intending . .’

os yn KrednplSns. We can only guess at the meaning.
Alternatives are (1) that Cleidemides was a gossip, who knew

184 THE FROGS OF ARISTOPHANES = 792—709

all the latest news, or at least the news about Sophocles, (2)
that we should render ‘as Cleidemides once said’=‘ to quote
(the famous remark of) Cleidemides,’ the allusion being to a
person of that name who had once declared his intention to sit
as épedpos, probably in circumstances suggesting the modern
political attitude of ‘sitting on a rail.’ For a similar use of
(ws) pn cf. Vesp. 1183 & oxaré xdmaldevre, Oeoyévys gn, | mis
kal yahds wédXNers Aé-vyew év avdpdor ;

792. &pedpos, ‘third man out’ (suppositicius), who waits,
not necessarily (as the present place shows) to fight the winner,
but to take the place of the beaten man if that man is the one
whose cause be favours ; cp. [Eur.] Rhes. 119 uxadv & epedpov raid’
éxers Tov IIndéws (‘you have him to contend with in turn’),
Xen. An, 2. 5. 10, Aesch. Cho. 865 n.

794. mpds y’ HipurlSnv: the ye is contemptuous, ‘ with (a)
Euripides, at any rate.’

796. kavrat0a 87, ‘and therefore, be sure. .’ [The line
suggests a tragic origin. ]

Ta Seva: the generic or comprehensive article, as in Soph.
Aj, 312 (=‘the whole range, or all sorts, of clever devices’) ;
cf. Aesch. S.c. 7. 581 é€& #s Ta Kedva Bracrdver BovrAedpara, Dem.
1017 davep&s ra Wevd7j wewapruphKacw.

797. povorky : not ‘ their (7) literary art,’ but generic.

798. pevcaywynoovor tiv tpaywdlay; ‘are they going to test
Tragedy by butcher’s weight?’ lit. ‘to act the weaywyds by
tragedy?’ The verb takes accus. partly on the analogy of
yepovraywyeiv, madaywyeiv twa, but more because of the sense,
which approximates to iordva: ‘weigh.’ See also rupo-
Twrjoat Texvnv 1869 n. The usual explanation of peaywyeiv is
that on the third day (xkovpe@ris) of the Apaturia, when a child
was enrolled in its ¢parpla (418n.), a sheep was offered as
iepetov (i.e. certain parts were to be burned in sacrifice, the rest
to be eaten by the ¢pdrepes). On the sheep being brought to
the scales—since it was not permitted to exceed a certain
maximum, in order to avoid invidious distinctions, and, on the
other hand, must not fall below a certain minimum—the
gparepes called out petov, petov (‘too small!’). That such a
sacrifice was actually offered and called peiov is undoubted,
but the explanation of the latter word is probably a Volks-
etymologie. The xovpetov was different.

799. Kavdvas, ‘rules,’ i.e. straight pieces of wood or metal
placed along surfaces to see that they are level or in line;
whxes, ‘cubit-rules’ for measuring; mAalow, FdpmrrvKta :

802—809 NOTES 185

oblong frames, built so as to open or shut into wider or
narrower shapes, in order to test the angles of rectangular
bodies, or to serve as moulds. [The reading dparyxra is less
to the purpose and was less likely to-be changed.] dtapérpovs,
‘mitre-squares’ (Merry) or ‘bevels,’ for measuring or making
angles of various widths ; odfjvas, to split the big words and
phrases.

802. Kat’ ros, ‘ verse by verse.’

804. Bebe yotv : a tragic line, and in all probability taken
from Aeschylus himself.

806. nipiokérnv: preferred to nipérnv. The process of
seeking was protracted and ‘they found themselves discovering
a want of competent persons.’ The sense is perhaps similar
to that of the neg. imperf. (i.e. otx nipicxérny codpovs dvdpas) of
disappointment (Gildersleeve, Gk. Synt. § 216), but both this
and the following imperfects are best taken as descriptive or
panoramic.

807. otre yap AOnvatoict cvvéBary Aioxtros. The imperf.
refers in the first instance to the same time as nipioxérny, not
to the time of Aeschylus’ life on earth. He ‘refused to meet
(come to terms with) the Athenians (in Hades),’ i.e. to accept
them as judges; cf. 175 édv EvpBS rico. The reason of this
refusal is to be sought in the alternative interpretation of
which od ovvéBawe admits, viz. ‘he did not agree with the
Athenians (when alive).’ It is quite in the manner of Aristoph.
to play thus upon a primary ad a secondary meaning in a set
of words. [The real cause of his disagreement could hardly
have lain in their want of appreciation of his poetry, for the
proofs of that appreciation were numerous both before and after
his death. More probably it was due to their dislike of his
aristocratic attitude, which was doubtless one of the reasons for
bringing up against him the convenient charge of dcéBea in
divulging mysteries. His withdrawal to Sicily was apparently
due to this unpopularity, which may also have caused some
unfairness in judging his plays. It is true that Plutarch (Cim.
8) has vixjoarros Toh Lopoxdéous Aéyerar Tov AloxvAov wepiTah
yevouevov kal Bapéws éveykdvTa xpbvov ov ronddv AOHvyct diayaryeir,
eit’ olxec Oar bv dpyiv eis Xixediav, and Athenaeus (347 &) speaks
of his being #rrnels ddixws, but Aéyerar is not convincing, and
there is nothing in our passage to show that itis the taste of
the Athenians which is impugned. ]

809. Afjpdév TeTUAN Hyeiro «.7.A., ‘and he thought everything
else (the rest of the world) a farce in the matter of forming an
opinion about poets’ abilities’; cf. Lys. 861 Afpds dor. Tada

186 THE FROGS OF ARISTOPHANES = 81r1—815

mpods Kwyolay. mept in this sense is more often joined with
accus., yet cf. Plat. Ap, 19 c ef ris repi rv ToLovTwy codpds éoTt,
Xen. Cyr. 1. 6. 15 Ppovisous rept rovrwr.

811. émérpeav: sc. dear 7.

oTu) . . eprreipos Av: as being the god of the Dionysia.
fw refers to the time of their decision ; cf. @de. 767.

812°sq. ws Stay . . ylyverar: a moral reflexion, ending the
speech and scene after the sententious manner of Euripides ;
probably a parody.

éorrovdakwor is perf. of a state or condition (cf. reOavuaxa,
mweppovrika, trepoBnuat). There is a resemblance to the familiar
quicquid delirant reges, plectuntur Achivi (Hor Lp. 1. 2, 14),
which might suggest a common source.

814-829. This chorus is of course a parody, but we do not
know of what. There is no sign that it travesties the style of
Aeschylus, nor should it be expected to do so, since the
reference is no more to him than to Euripides. Their styles
are contrasted, and we should not omit to observe how, in
describing the behaviour of Euripides (826-829), the language
is delicately made to slip along in sibilants (7d otypa 7d
Evpuridov), while in describing that of Aeschylus (822-825)
there is a no less deliberate massiveness of sound. As we have
lost the original we are compelled to miss most of the humour
of the burlesque.

In point of arrangement it seems best to attribute the four-
lined stanzas alternately to 7ucyépia a and 8’: Thus the half-
chorus A describes Aesch. as the lion preparing to fight with
the boar ; B then depicts a battle of chariots and horses rather
from the point of view of Euripides (820); A returns to Aesch.
with a mixture of metaphor between a lion and a storm-wind ;
after which B pictures Eurip. weathering the storm. [Wemay,
perhaps, be permitted to guess here and there at the original
words. Thus in stanza 1 (814-817) dvruréxvov suggests
dvrirddov and 6§Aadov perhaps dévAaB7 ; in stanza 2«(818-821)
Adyov may=dxwr, cKidvauévwv mapatoviwy is probable, and
prpatra possibly answers to &puara; in stanza 4 (826-829)
tmAEevpdvev represents rvevidrwr, and it is probably a ship which
is steered (vats dvedocouévy) dividing the waves (kvmara
datouérn). |}

814. ép.Bpewéras. The context (cf. 822) shows that the
allusion is not to Zeus (J7. 18. 624) but to the lion, the noun
being understood, as in depéoixos (‘snail’), tpis (‘ant’), etc.

815. hvlk’ dv . . mwaplSyn, ‘when he takes a sidelong glance
at’; cf. Aristot. H.A. 9. 45. 5 és 7d wAdyov mapopav. The

815—S2t NOTES 187

construction of O@qyovros is either (1) gen. absol., or (2) after
odévrTa, i.e. mapldn d&dAadov dddvta (Tov) dvTiTéxvov, AnyorTos
(airév). [aep t8y of most Mss. gives an unusual position to
mep, Which should belong to jvix’ dv. One similar instance
is, however, found in Hom. J7. 11. 86 jos 6é Spuréuos wep avinp
wrdicoaro Setrvov (i.e. Huds ep). |

dftAaAov . . 686vra: the adj. is humorous ; the goring tusk
consists of sharp talk. [If éévAaBH were in the original it
would mean ‘keen to seize an opportunity.’]

Ohyovros 686vra : a commonplace concerning the wild boar ;
ef. Eur. Phoen. 1380, [Hes.] Scwt. 386, Verg. G. 3. 255
dentesque Sabellicus exacuit sus.

818 sq. immodddov . . Adywv: with a change of metaphor
to a chariot-fight. The language of Aesch. on the one side
(re 818) is heroic, wearing the glancing helm and the horse-hair
plume (cf. 925) of the epic ; that of Eur. on the other (re 819)
is ‘axle-boxes of quibbles’ and fine ‘ carvings of deeds.’ These
latter expressions are difficult, and, without the original, their
choice can hardly be appreciated. But épya are deeds in
battle (Epya waxns, wodeura epya, tpywv execOar), and oprcd-
para Epywv are ‘fine chisellings’= ‘subtle finessings’ in the
way of such operations. mapafdévu. are either ‘linch-pins’ or
‘naves (axle-boxes),’ and this part is used for the whole
(‘chariot- wheels’) by a common poetic device in order to
direct attention to the ‘whirling’ of the words. The gen.
defines the peculiar rapaééyia in this case: ‘there will be
whirling wheels—of quibbles.’

oxwdartdpov. For the application of ‘splinters’ to quibbles
cf. Nub. 1380 Adywr axpiBdv cxwdardmous, and inf. 881. [oxw6-,.
not oxw85-, is the Attic spelling, being the nasalised form of
oxvd- ‘ chop.’]

820. dwrds dyvvopévov «.t.A.: either (1) ‘of Euripides, as he
defends himself from the mounted phrases of Aesch., the crafts-
man of brain,’ or (2) ‘of Eurip. the subtle, as he defends himself
from the hero’s mounted phrases.’ The former is much to be
preferred since (a) the bare dvSpss would be awkward and
unrhythmical without a qualification and unrelated to the
adjoining gen., (b) dpevoréxrovos sounds more like a distinct
compliment, Euripides being crouaroupyds (826). The stock-
in-trade and teacher of Aesch. are his own brain, whereas Eur.
is the product of sophistry. gwrés, when placed in antithesis
to dvdpds, naturally suggests a certain attitude of pity.

821. prpad’ immoBdpova, ‘phrases mounted on horseback’
(or ‘in chariots’); cf. 929 pjuad’ imméxpnuva. The expressions
of Aesch. are anything but etd (pedestria). ofa is wider

188 THE FROGS OF ARISTOPHANES = 822—828

than évoua (‘word’), and includes either a phrase compressed
into a word or a phrase itself (cf. 1155). The reference is not
to the length of the compounds of Aesch. (for in point of fact
examination shows that these do not exceed those of Eur.),
but partly to the boldness of these, partly to the boldness
of his condensed metaphors ; cf. Pac. 521 pjua pupidudopov and
the expression duaéiata pyuara.

822-823. plas . . Bpvx@pevos. We return to the lion
(ef. 22. 17. 1186 wav 5é 7° ériokdvioy KdTw edxera doce KadvTTwY,
and note Bpvxmuevos), but he is speedily confused with a Giant
storm-wind. Though ¢plocew is strictly intrans., it may of
course take accus. of the hair or other part affected ; cf. Hom.
Od. 19. 446 dpléas ed ANodinv, [Hes.] Scut. 391.

avroképov. There is nothing artificial (no ryvixn or pevdxn)
about Aeschylus. When his terrible hair bristles up, it is his
own.

824-825. phyara youdotray .. dvoqpatt. It is impossible
to relate this logically to what precedes. The d’onua is that
of a ylyas, e.g. Tudwds (848) or other hurricane-powers ; cf.
Aesch. Ag. 696 Zepipov yiyavros atpg. Such a wind tears off
the close-rivetted timbers (dovpara yyougorayh) of ships and
buildings. Here, since the fxyuara are those of Aesch. himself,
we must take it that they are heavy phrases from his own
works, which he rips off and sends whirling at the enemy.
With aroomay cf. 902.

826. wropatoupyos )( dpevoréxrovos (820).

érav Bacaviorpia: to be joined ; cf. 802.

827. aveAtooopnévyn, ‘unwinding itself’ (as being supple) ;
but there is also an allusion to a ship in a storm, which
éXlooerat in answer to the rudder. In yadwodts the nautical
metaphor (‘tackle’) also underlies the more obvious sense of
‘shaking the reins’ (i.e. giving full speed ; cf. celew xadwovs).
By ‘tacking about’ and dexterously ‘managing the ropes’
the ship brings to nought the ‘labour of breath’ of the storm.

828. prpara Sacopévyn: breaking up the pjuara of Aeschylus
and whittling them away by critical carping in detail.
[814-829 =
A. With dreadful wrath of his inmost heart
: Will he rage, that lion of mighty roar,
When he looks askance at his rival smart
Giving his tusk, like a cunning boar,
lis keenest edge for a wordy war.
In frenzy of soul
His eyes will roll.

830-836 NOTES 189

B. Then will be frays where the helmets shine,
Frays of words with the horse-hatir crest :
A whirl of quibbles, and chisellings fine
Of the chiel’ who does his manful best
To repulse each charge of the prancing line
; Maneuvred amain
By the man of brain.

A. But up will he bristle his bushy mane,
The crest that is all his genuine hair ;
He'll grimly frown and he'll roar again ;
From their clamps like so many planks he'll tear
The massive words, and hurl ’em amain
With a blast loud blown
As the Titan’s own.

B. The other his slippery tongue will unwind,
Fine taster of words, fine judge of effect :
To envy and malice and all that’s unkind
He’ ll give loose rein ; he’li mince and dissect,
Till he quibbles away all the sense he can find
Contained among
That labour of lung. ]

830 sq. The scene is now the interior of Pluto’s palace.
There would be a number of kwoa mpdcwra present besides the
principals Aeschylus, Euripides, Dionysus, and Pluto. The
two slaves, Xanthias and Aeacus, are now performing the parts
of the poets. wi, vovéres is plainly not addressed to
Aeschylus nor to Dionysus, but to some one represented as
dissuading Euripides. [peOe(nv cannot stand, since the
act., as in dvinuw, is only used with gen. when one lets go
‘some degree’ of a thing, e.g. xédou, waxns. |

832. Tod Adyov, ‘the plea’ or ‘statement of the case,’ not
‘his words,’ which would be flat and would require rv Néyur.

833 sq. Grocepvuvetrat (sc. Taira) . . dmep . . ereparevero.
For the contained accus. cf. 12n. ‘He will put on the fine
airs of reserve with which he used to act the wonder-monger.’

835. @ Saidve avSpav: in remonstrance (175) to Euripides.

pi) peydda Alay Aéye, ‘do not take too high a tone.’ We
should not render ‘ boast,’ since there was none in the remark.
péya (and meydda) Aéyew takes its. precise meaning from the
context.

836. éy@da totrov: sc. droiés éo7.; cf, Eur. Med. 39 éygda
THE, Jeuaivw Té ver, |

190 THE FROGS OF ARISTOPHANES 836—841

Siéokeppat mada: not to be confused with the idiomatic
present mda dtacxord. The perf. represents a conclusion
long ago reached.

837. ayptoroidy. Since all the rest of the terms refer to
style and expression, we must not take this of his subject
matter in the sense of the schol., dypious elodyovra Kal wmods
Tovs Hjpwas, but as=ayplws mootvra, ‘writing like a savage’ (as
Voltaire said of Shakespeare).

838. dxdAwov dkpatés GbUpwrov: see 204n. With dév-
pwrov cf. d0vpdcrouos, Eur. Hipp. 886 rdde pev otxére orduaros
év midats kabéew, and the Homeric motév ce eros piryev epxos
60dvTwYr ;

839. GreptAdAnrov: a word commonly misinterpreted. Lit.
‘uninstructed in epi\adia,’ just as in the famous pndels
dvyewuérpnros eicirw the adj. =‘ uninstructed in yewperpla.’ To
Euripides the true style is that of the wepi\ados—chattery and
circumlocutory. Of that poet himself the comedian Teleclides
(Com. Frag. ii. 372) has Evpirléns & 6 ras rpaywdtas roby | ras
mepikadovoas odrés éort Tas copds. The schol. is, after all,
right, though inadequate, with his ov« eldéra dade. [The
usual rendering loquacitate non superandum (Blaydes), ‘not
to be out-talked’ (Merry), can indeed be got from the word,
but is quite inappropriate. |

Kowtromakedoppypova: i.e. he makes pyuara which are
faggots (@dxedor) of condensed expression and are bold and pre-
tentious (kowmrwdes). The reference is not to compound words
but to close-packed phrases.

840. ® tat Tis dpovpaias Geod, ‘O son of the agricultural
goddess.’ Cleito, the mother of Euripides, is called by Aristoph.
(Thesm. 387, cf. ibid. 456) Aayavorwhjrpia (‘ green-grocer ’),
and, according to Aulus Gellius (15. 20), she was said by
Theopompus (fourth cent. B.c.) agrestia holera vendentem victum
quaesisse. Cf. Ach. 478, Hg. 19. For the same taunt the
comedian here utilises one of Euripides’ own verses, &\7es, &
mat THs Oaracolas Oeod ; (i.e. Achilles, son of Thetis), probably
from the Telephus.

841. od Sipe tadr’ ; sc. Adyers. MSS. have 8H pe; but the
sense is manifestly ‘you talk that way of me?’ Cf. Ach. 568
TauTl Aéyers od TOV OTpaTHYydV TTWXOs Gv ;

oropvdrvtorvAdexTadyn. Comedy is fond of patronymies (cf.
966) used with various belittling implications: ‘you (son of a)
scraper-together of babble’=‘ you poor gleaner of small talk’ ;
i.e. the matter of Eur. is often trivial chatter, and unoriginal
at that, :

rs

842—849 NOTES 191

842. mwrwxoTo Kal paxioovpparTédy, ‘poet of beggars
and stitcher of rags.’ Aristoph. dislikes the stage-devices of
Euripides for exciting compassion by outward signs of misery.
The true artistic manner of arousing the é\eos cai dos of the
spectators is, according to the best Greek taste and the reason-
ing of Aristotle, by means of the structure (cvcraovs) of the
piece and the inherent appeal of the tragic situation itself.
Eurip. had brought Oeneus, Philoctetes, Bellerophon, Telephus,
Thyestes, Ino and others upon the stage in poverty and rags ;
Bellerophon, Philoctetes and Telephus were also lame (hence
xwrorodv 846). The whole passage in the Acharnians 410-455
should be read. Cf. inf. 1063. .

843. ot tL: no longer part of current Attic (for oddév) except
in this phrase.

844. kal pi. . Kétw: evidently a line of Aesch., quoted
against himself. 3

845. ov Sita: sc. ravooun.

846. xwAotrovdv: 842 n. Note, however, that xwAdés can be
used of any maiming.

847. dpv dpva pédava «.t.A. Victims (oddyia) to the
Chthonian powers, including the Titanic and Earthborn (e.g.
Typhos), were black; the animals offered (iepeta) to the celestials
were white.- In Verg. Aen. 3. 120 nigram Hiemt pecudem,
ZLephyris felicibus albam the distinction implies that the
Zephyrs, being kindly, are treated as celestial (Harrison, Pro/eg.
c. li opayia). P

848. Tudas: personified, otherwise mapackevdgerac would

scarcely be used. Typhos (or Tugdwy, Tugwevs)' was son of
Tartarus and Gaia.

éxBatve : é&épxecOar is a vow propria of winds ; cf. Hq. 430
feu yap cor Aammpos On Kal mévyas.

849. Kpyrixas . . povwdlas. The allusion appears to be
double : (1) to what were considered the immoralities in plays
of Euripides dealing with Crete or Cretans (e.g. the Kpjres,
Kpijooa, and possibly Phaedra in the Hippolytus), (2) to what
was regarded as inartistic innovation in his introduction of
Cretan tropyjuara into his tragedies. In the Cressai Aerope,
in the Cretes (apparently) Pasiphae, were concerned in matter
open to reproach. In the latter piece there was a povwdia of
Icarus (schol.). The trépxnua consisted of a solo in which the
singer accompanied his song with a more or less pantomimic
dpxnots. Instances are to be seen in Or. 960 sqq., 1369 sqq.,
Phoen, 301 sqq. By introducing these Euripides reduces the

192 THE FROGS OF ARISTOPHANES 849-861

part of the chorus in favour of the stage. For dramatic pov-
wdlac in general see Haigh, Tragic Drama of the Greeks, p. 363.
‘Cretan’ defines the species particularly objected to. Cf. Ath.
181 8B Kpnrixad kadodor Ta Uropxjuata.

ovdAdéywv : the word denies his originality.

851. @ wodvtipyr : addressing him as if he were a god—
the god of hail. Cf. Ach. 759 (corn is) roduriuaros, diep Tol
Geol. Plato (Huthyd. 296D) has ® rodutiunre Evdvdnue, but
the ironical application of words in Plato has always to be
taken into account. |

852. wovyp, ‘wretched’; cf. Thuc. 8. 97 movipwy Trav
mpayudrwv yevouévwy. [The grammarians tell us that ovnpds,
poxOnpos is the accentuation in the moral sense, otherwise
tovnpos, “ox Onpos. | ~

854. Kkepoaralo pnpat.: variously interpreted as (1) ‘a
phrase as big as your head,’ the termination -aos (regularly
-catos) being suggested by e.g. duatktatos, rnxvatos. If this
were so, we might suspect that exceptionally large hailstones
were sometimes called xepadtatac; (2) ‘a topping phrase’
(capitalt), i.e. one fit to form the xegady of a structure ; ef.
Kepanrirns AlOos, yywvlaov phua. The latter has the better
warrant, and includes the point ‘with a stone which is a head-
stone indeed’ (in that it strikes the head).

855. Oevdv tm’ dpyfis: the line is tragic in metre and is
evidently a semi-quotation.

tov THAehov: humorously for rév éyxépadov. Euripides’
brains are represented by his 7Z'’elephus (and, in the opinion of
Aristophanes, that does not say much for them).

857. deyx’ éAéyxov: cf. 861 ddxvew dSdxvecOa. The
vivacious omission of xal or re kai (Plat. Gorg. 462 A @eyxé Te
Kat é\éyxouv) occurs chiefly with words expressive of either re--
ciprocity or antithesis. Cf. Eur. Suppl. 700 éxrewov éxretvovro.

859. Somep mptvos éwarpyoels Bods. The rhythm rather
makes for joining the participle to od than to mpivos, and the
sense ‘you at once, when you get on fire, begin crying out,
like holm-oak’ is in the Greek manner. In any case ed@vs
belongs to Bods, since it is not the kindling of zpivos which is
immediate, but the crackling which ensues immediately upon
the kindling. Among plants which made a loud crackling
were mpivos, dagvn (Diogen. Com. Frag. vi. 52), dumedos (Pac.
612). For the mpivos cf. Ach. 667.

861. Sdxvew SdxverOar: 857 n. The metaphor is from
cockfighting or quailfighting. Of. Hg. 495 wéuvnod vuv | ddxvew,

862—871 NOTES 193

diaBddrrewv, Tos Adgous Katecbiew, The words té&ry, Ta per:
_ ete. (accus. resp. with SdxveoGac) answer to parts of the bird’s
body. péAy i lyric tunes ’) manifestly puns on the sense
‘limbs,’ and vetpa=‘sinews’ in both the physical and meta-
phorical meanings. The other words (IInAéa etc.) doubtless
also contain similar puns which we cannot trace.

862. tésn, ‘ the verses ’ (of the dialogue), i.e. their qualities
as such. td péAn: the lyrics and their music. ta vetpa: the
firm-knit structure of the piece. Together these cover what
Aristotle in the Poetics calls \ééis, weXorota and pidos (or
ovoTAoLs TOV TpAayUaTwv).

863. kal vi) Ala rov IIndéa «.7.X., lit. ‘yes, and my
Peleus etc.’ Of all these plays we possess fragments. The
tone in kal vi) Ala does not imply that Eur. thinks less of
these plays than others (though Ar. may), but rather the
contrary. The Acolus and Telephus have (at least by implica-’
tion) been assailed by Aeschylus, and Eur. is willing to submit
them to the test. In k&tt para tov THAepov he permits even
his chef-d’ewvre to be treated in this way.

IIndéa: either IImkéa (a quantity occasionally found in
Euripides, e.g. povéd, Hec. 882, El. 763) or TIndéa (cf. 76, Soph.
Aj. 104 ’Odvecéd etc.). The scansion here (whichever it may
be) is identical with that in Soph. fr. 434 IIn\éa rév Aldxecov
oikoupos wovn . .

866. €BovAdpnv: not=é8. dy but lit. ‘1 was wanting
(before the decision was come to). The idiom is not rare in
this word; cf. Aeschin. Ctes. 2, Lucian, V.A.17, Tim. 52 etc.,
and the similar uses of @de., éxpjv etc. Goodwin, UM. and T.
§§ 415 sq.

868. Sti h ménots ody) ouvrébyynKé por: a neatturn. When
Eur. died, his poetry died, while that of Aesch. lived on.
There is also an allusion to the unique distinction bestowed
upon Aeschylus in permitting his plays to be reproduced after
his death in competition with the ‘new tragedies’ (schol. on
Ach. 10 says this was done yWndiopar: cow). See Haigh,
Tragic Drama ete. p. 59. During the next century, however,
when old plays were habitually reproduced, it was Sophocles
and Euripides, not Aeschylus, who were popular (ibid. p. 121).

869. oo’ te Aéyewv, ‘so that he will be in a position to
quote.’

871. ABavwrdv «.7.d.: trials and contests, like other great
undertakings, were inaugurated with sacrifice ; cf. Vesp. 860.
Dionysus is here the dywveGérns of a wrestling- -match,

O

194 THE FROGS OF ARISTOPHANES 872—881

872. Straws dv eVEwpar: Aristoph. uses dws dv with subjunct.
or drws with fut., but not dws alone with subjunctive.

codiopatev: substituted for e.g. maacudrwr, as in the
next line poveixotara for e.g. dicardrara or dowwrara.

873. ayava . . Tovde K.7.A. The line is tragic in metre
and in the omission of the article. [For the latter, however, it
must be said that, since the article proper was no part of the
older language, the omission may have been familiar in an
old-established formula of prayer. ]

874. tats Motcais: here the representatives of the évaydviot
Geol (including the Xdpires) at the games.

imgoate, ‘sing to accompany (my offering).’

875 sqq. In these lyrics we must assume a play upon certain
agonistic or gymnastic words at which we can only guess.
This is sufficiently indicated by orpeBXotor madaicuacw and the
general tone, which is in keeping with the last speech of
Dionysus; cf. 902 sqq. n. [yvopotirwy (877) suggests
dvritvTwv or the like, oroparow (880) represents cwudrov, and
probably phpara (881)=duuara or orpéupara. The word
mapampiopata (881) is at least connected in the mind with
mpiw in the sense ‘grip,’ for which ef. Soph. 47. 1030 ¢worfpe
mp.obels immixdy € avrvywv and mpiouds = Biala karoxy (Hesych.).
Jebb quotes Oppian, Hal. 2. 1388 toye 7’ Eumple re. See
editor’s note also on Aesch. Cho. 424 dmpixrérdaxra.] In
wrestling the Greeks (like the Japanese) laid special emphasis
on nimble devices as opposed to mere strength. These were
carefully studied (hence the suitability of uverds, é&vpseplyvors,
tmopitcacGat). Plutarch (Symposiaca 2. 4.) has it that wrestling
is Texvixwratov Kal mavoupyérarov Tav dOAnuaTwr.

877. yvopotitev: cf. Hg. 1378 ocuvepxrixds yap éore Kal
mepayTikos, | kal yrwuorvmixds Kal capys Kal Kpovarixds, Thesm.
53 (of Agathon) yrwpuoruret. It was an aim of sophistic train-
ing in rhetoric that the student should coin yrauar (sententiae).
Cratinus invented a word yvwpodimxrns ; cf. 1059.

879. Sivapiw: cf. Adywr Sdvayus (eloquence), Suvards héyerv.
880. twoplcacbar: with Savorarouw.

881. phpara: this word refers specially to Aeschylus,
Twapatplopata to Euripides. The ‘(big) phrases’ of Aesch.
(839, 854) are compared with the other’s ‘ (fine) bits sawn off’
(for this seems the natural meaning of wapampiouara, not
‘sawdust’). With the latter cf. Plat. Hipp. Ma. 3044
kvicuard rol éote kal wepitujpara Tov NOywr. érdv belongs

886—892 NOTES 195

only to mapampicuar’. [For the play on wrestling terms see
note to 875 sqq.]

886. Anpyrep k.t.A. The schol. calls this a line of Aeschylus,
and Fritzsche naturally guesses that it comes from his
Eleusinioit. The tragedian was born at Eleusis, or, as the
technical phrase went, jv ’EXevolvios tev Show (Tov Siwov
wrongly schol. ).

887. elval pe k.T.A, : 387 n.
888. Kadds, ‘ No, thanks!’ cf. 508.

889. trepo. k.t.A. There is no justification for this charge in
the extant works of Euripides. He is a sceptic as to the
traditional character of the gods of the myths, and sometimes
clearly expresses such philosophic doubt (e.g. Z’ro. 884 sqq.),
but he introduces no new deities.

Qeots: the attraction (for @eof) is hardly to be illustrated
by 894 (q.v.) but rather by e.g. Aesch. Suppl. 1040 ré0os a 7
ovdév dmrapvov | reNéOer OéAxrope IlevOot, Kur. Hec. 771 wpds dvdp’
bs dpxe THode Tlokuujotwp xOovds, Thesm. 502 érépay & éyod?
} packey wdivew yun, Ter. Andr. (prol.) populo ut placerent
quas fecissent fabulas.

890. Képpa Ka.wdv, ‘a new coinage’; cf. Nub. 248 Geol |
nu vouop’ ovk éori. So Socrates was alleged kawd datudria
. eloaryev,

891. isiirats: not=/dios. The word takes its meaning
from the context, being opposed either to a public man or to
any sort of rexvirns, as the layman or non-expert to the pro-
fessional. The gods of Euripides are ‘unprofessional,’ not in
public ‘ practice.’

892 sq. ai€fp «.t.A. The sounds are made suggestive of
real divinities. Thus éc@pavrjp.ox recalls such titles as mpoora-
Thpro, ddeENTHpior, and puKrTpes has a formal kinship with e.g.
cwrnpes. In view of Béoxnpa it is perhaps natural to find in
yAorryns orpdédry— a play on yAdrrys Tpodevs, especially as
atpopevs is another form of orpddvyé. It was common to deify
I'9 ; then why not Ai@jp? The divinities chosen are those of
sophistic acuteness and glibness. Euripides is classed with
Socrates as belonging to the school of Anaxagoras, of which
the popular conception was, of course, quite inaccurate. In
the Clouds Socrates says (264) & décor’ dvat duérpyr’ ’Ajp. .
Aaumpés 7’ AlOjp, and ibid. 424 he enumerates as a trinity 76
Xdos rouri kai ras Nepédas cal rhv yAO@rray, rpia ravri. In
the case of Euripides it was easy for a contemporary to suppose
that ‘Air’ was his god; cf. his frag. incert. 941 dpds Tov bod

196 THE FROGS OF ARISTOPHANES 92-901

rove’ daeipov aidépa | . . Tolrov vémfe Lfva, rvs’ hyod Oedby
(translated by Cicero, NV. D. 2. 25. 65). Democritus also
identifies d4jp with Zevs (fr. 5).

épov Booknpa, ‘my nutriment’; cf. Nub. 569 weyaddvupor
nuérepov marép’ | aidépa ceuvdrarov Biobpéupova mdavrwv and
ibid. 330. It is implied that the air is an unsubstantial and
flatulent diet, fit for a sophist’s brain.

yAarrns orpddry§: cf. Nub. 792 yrwrrocrpodeiv.

893. puxriipes. On the one hand we have puxrnplger,
Mukrnpiouds of sneering or ‘turning up the nose’ (cf. Hor. S.
1. 6. 5 naso suspendis adunco), on the other the sense (shown
in édog¢pavripior) of sagacious sniffing or ‘nosing out’ a matter
(ptva Kpircxqy Poseid. fr. 1). The two meanings may very well
go together.

894. dp0ds p’ Ehéyxeww: 387 n., 887.

av av &rropa: Adyov. Though this may be taken as an
attraction for Adyous (cf. 889 n.), it is equally possible to con-
strue ‘that I may bring confutation, whatsoever arguments I
come to grips with.’ &mrrepat keeps up the wrestling metaphor.

b

895. Kal pv pets y, ‘well, we may tell you, we. .’; ef.
06 n.

896. tlva Adywv énpéAcray Erire Satay 686v: so Mss. Apart
from the uncertain metrical question, the construction (which
is taken from some parodied lyric) is simple enough. Lit.
‘what Adywr éupéXeca you will enter upon, (in) hostile onset.’
Satav 68dv is the cognate or adverbial accus. with émre, while
éupédecavy is the direct accus. of the thing traversed or
treated (obire). [Some might prefer to call datav 6dé6v ‘accus.
in apposition to the verbal action.’] “There is a play upon
different senses of €uuédeva as (1) 7d eupedés, elegance of speech,
(2) the tragic dance (opposed to the comic xépdaé and oixwmus),
‘(tragic) dance of argument.’ We may perhaps render by
‘what elegant tragic dance you are going to lead each other.’

897. yAdoou . . hyplwrar. If we reduce these words to
terms of the palaestra, yA@ooa stands for cHua and 7ypiwrar
for jKpiBwrar (‘ trained to perfection ’)

899. od’ axlvnro. dpéves, ‘nor are their wits (for strata-
gems) sluggish.’ That this is the meaning of ¢péves should
appear from the natural list of a wrestler’s qualities, viz.
condition (cua, here yAéooa), pluck (Ajua), quick wit
(ppéves) ; cf. note to 875 sqq.

901. sq. Tov péev: Euripides,

901—903 | NOTES 197

Kateppiyynpevov, ‘fined down,’ with a play upon the senses
of ‘filing’ a literary or rhetorical style (cf. dimatus, limae
labor) and of fining down the body; cf. Aesch. Suppl. 747
Oddre: Bpaxlov’ ed Kareppwnypuévovs, where the schol. explains by
Karas év nrAlw yeyuuvacpévous.

903 sqq. Tov 8’ avacravr’ x.t.A, The wrestling style of
Aeschylus is less cunning but more vehement. A clear and
consistent sense of the whole passage is rather difficult to
elicit. That the metaphor of the palaestra is kept up is
evident from dAwdHOpas. The drjvdyois or xidiors was the
form of wrestling in which, as opposed to the wddy 6p6%, the
opponents struggled on the ground. The ddwd70pa is the
place for such a contest (7 Kxatad wddnv xoviorpa Eustath. ; ef.
Kpeud@pa, KoduuBnOpa etc.), and there is no authority for
making it equivalent to dXivdnors itself. The explanation of
a schol. orpopds, roxas To Evpuridov is but a loose guess, and
the ‘long-rolling words’ of Liddell and Scott is untenable.
[The rendering cannot be ‘wrenching up (sc. the words), will
rush in and scatter many rolling-places of verses with words
root and all.’ This does not correspond to anything done in
wrestling, nor is the construction of cvoxedav defensible. The
only natural rendering of cvoxedav aAwd78pas is ‘scatter the
wrestling-ring all about’ (i.e. the sandy ground), Nor can we
accept ‘falling upon him with words (torn up) root and all,
he will make havoc of many a rolling-place of verses.’ In
wrestling one does not fall upon an opponent with a club after
the manner of the giant Euceladus (evolsis truncis Hor. Od. 3.
4. 55).]

We are therefore reduced to a choice between (1) ‘Snatching
him up, with his arguments root and all, he will fall upon him
and make havoc of many a wrestling-ground of verses’ ; i.e.
Aesch. will lift his opponent, throw him, and go through the
aNivdnots, scattering the ddwd76pa about in his vehemence :=
dvacmdce avrov Kal é€umecov ovoxeda, the present dvacrdrra
expressing the repeated action of the several bouts, while
éumecdvra is modal with ovoxedav ; or (2) ‘ (but the other) using
his words root and all, as he tears them up, will fall upon him
etc.” In this case dvacrévra . . Adyouoww (modal dat.) is
descriptive of the style of Aeschylus in the verbal wrestling,
not of any weapon. This gives to dvacmay a sense elsewhere
found of language (Aéyous dvéora Soph. Aj. 302), makes an
antithesis of the great unpolished diction (Aéyor adrémpeuvor)
of Aesch. with the ‘fined’ language of Euripides, and is there-
fore to be preferred.

Todas adwvhyOpas érHv: the gen. is necessary for definition.

198 THE FROGS OF ARISTOPHANES —9os—o10

The several sets of verses which are to be treated form the
wrestling-grounds for successive bouts. :

905. ottrw. We might construe (1) otrw dé (xpi Aéyeuv), dws
€petrov . . , (2) Smws dé ot'rw(s) épetrov dareta (‘see that you
just say bright things,’ (3) ‘see that you talk in the following
way, viz smart things.’ The last is rather awkward; the
second is easily supported, so far as ofrw is concerned (see 625
otrw d¢ Bacdug’ drayaywv and note), but the position of dws
is unusual ; the first is without objection, and ofrws érws was
a recognised combination; cf. Soph. Hl. 1296 otrw & dws
LATHp ce pH 'rvyvwcera (i.e. oUrw 5é mole dmws..), Ach. 929
évdnoov . . otrws drrws uh Kal pépwv Kardéer.

906. doreta: 5 n. In this line Aristoph. virtually re-
assures his audience as to what is coming.

eixdvas: not ‘similes,’ but ‘drawing comparisons,’ in the
sense of the elxacua which was cxdppa cad’ 6uodrynra ; cf. Vesp.
1308 efr’ adrév ws eld’, Kacey Avolorparos (‘drew a comparison’),
**€ouxas, @ mpecBira, veordovTw Ppvyl, | kAnrhpl 7’ els axuppov
dmodedpaxért.” Such ‘odious comparisons’ were a familiar
exercise of Athenian wit, and were one form of the hackneyed
(ot’ Gv GAXos elzror); cf. Nwb. 559 where the comparison of
iq. 864 is called efxav. [Otherwise we might render ‘neither
similitudes (such as Aesch. is fond of), nor platitudes (such as
Eur. affects’). But this is rather too much to extract from the
words. Moreover Euripides and Aeschylus both employ
similes and metaphors, and at least metaphors are freely used
in the coming altercation. ]

907. kal piv .. ye: to be joined; cf. 106 n.

908. év rotow tordrois «.t.A. This, with the forensic
tovrov, sounds like a commonplace in rhetorical exordia.

910. papovs x.t.A. : the opinion of the innovator Euripides,
not of Aristophanes, who admired Phrynichus.

tapa Ppuviyw, ‘in the school of Phrynichus.’ Phryn.
produced plays 511-476 B.c. In the development of tragedy
he lies between Thespis (cire. 535) and Aeschylus (flor. 499-
456), and may be regarded as the first to give it a true artistic
shape, by constructing a serious (though slender) plot, compos-
ing lyric choruses of a higher type in both language and music,
and devising dances of greater excellence. His chorus (consist-
ing still of fifty persons) sang the bulk of the play. His best
known pieces were the MiAjrov dAwois and the Polvcca. For
the appreciation of his songs ef. dv. 750, Vesp. 220. To him
belongs the famous line (borrowed by Gray) Adware 8 én
toppupéas mapnat pds epwros.

9ti—918 NOTES 199

911. éva tw’ av Kabicev: for the iterative dv with aor. see
Goodwin, MZ. and T. § 162, and inf. 914, 920. [xa0tca is the
older, éxd@:o0a the later Attic form. xaGeioa is epic and lyric. ]
éva is to be reckoned with: ‘some solitary person.’

éyxadvWas: in sign of grief; cf. Hom. Od. 8. 92 kara kpara
kadupdpevos yodackev, Kur. Suppl. 110.

912. “AxtAdéa: in the Bpiyes (= Exropos Avrpa) says the
schol., and the writer of the Life of Aeschylus states that in
this play “AxiAdeds eyKexaduppévos od POéyyerar ANY Ev apxats
dAtya mpos ‘Epujv dpuoBaia,

NidByv : in the Niobe she is represented as sitting speechless
at the tomb of her children for the third part of the play (Auct.
Vit. Aesch.). :

vo «mpdowmov «.t.A., ‘not showing who the character
(persona) was’ (rather than ‘their face’).

913. mpdoxynpa: the sense of the word depends on the
context. It is something ‘ put forward,’ whether as a pretext
or a fine sample. In Plat. Hipp. Ma. 286 A mpdcxnua dé pol
éort Kal dpxh Todde Tis TOU Adyovu the use is similar to that here,
which is rather hard to crystallise in English, but amounts to
‘a showy introduction.’ The picture in front of a modern
show, or the setting-out of a shop-window (cf. Fr. étaler),
would be a mpécxnua. In Aeschylus the piece (4) tpayqwdia)
which is to come is thus showily advertised.

ypifovras od8€ rourl, ‘without even thus much of a mutter’
(=‘without so much as a mutter’). Cf. Plut. 17 kati ratr’
dmoKpwouevw Td tmapdmav ovdé ypt. The lax plural is adapted
to the sense. ovuri is deictic, with a snap of the fingers ; cf.
TuvvouTwl 139.

914. od 570": sc. eypufor oddév.

Hpedev . . dv, ‘would go on hurling’ (cf. 911). The
‘strings of lyrics’ are sufficiently illustrated in the Supplices
and Agamemnon. Any recognised arrangement of the lyrics,
e.g. strophe+antistrophe+epode, would form one ‘string.’
rérrapas is not to be taken literally, but-=‘three or four’ (Zq.
442, Ach. 2); cf. the use of dxTwW, éxxaldexa (551).

918. 6 Setva, ‘ What’s-his-name,’ ‘our gentleman,’ ‘the
party.’ The expression may (but does not necessarily) imply
contemptuous or irritated impatience or forgetfulness (ef.
Thesm. 620 sq.). Here it is commonly taken to refer to
Aeschylus, but there is nothing dramatically natural in making
Dionysus appear to have forgotten that poet’s name, and, if it

200 THE FROGS OF ARISTOPHANES — 919—929

really so refers, we must regard it asa colloquial indirectness
(like vis 552, 554)=‘why did a certain person act like this ?’
But why should it not rather mean the silent character in his
plays ?

919. kaOyTro. MSS. give KaSoiro, but there is no doubt
about the real ‘athematic’ form (=xaé-n-t-ro) as in KexAyuny, .
KEKTH UNV, “e“uvyunv, in which the -7- is an indispensable part of
the root. Copyists found these forms strange, and corruption
was made easier by the identical pronunciaticn of -y- and -o-
in later Greek. [In Lys. 149 the Mss. have kept ef . . kaOjue0’
simply because the word was thought to be indicative. In
Plut. 991 all good ss. have peur77o.]

920. To Spapa 8 av Siye, ‘the play would be getting on’
(towards its end, while the spectators were still waiting for the
figure to say something).

923. émeidt) Anpfoee Kal . . peooiyn: the tenses in the
frequentative opt. are as much to be distinguished as in érecdy
EAnpnoe Kal TO Opaua (dn) éuéoov. .

924. Bdaa, ‘fit for an ox,’ i.e. of ponderous size and
bellowing sound. The writer doubtless had in mind the
magnificatory compounds in Bov-, e.g. BovAwos, Bowmis.

925. ddpis txovra k.t.X. : i.e. of haughty and intimidating
sort ; cf. dppits alpev, dvedkrais dpptor ceuvds and supercilium.
Antipater (Anth. Pal. 7. 39) says of Aesch. 6 rpayixdov dovnua
Kal éddpvdecoav dodyv | rupywoas. With Adovs cf. 818. In
Aesch. S.c. 7. 317 Tydeus rpe?s xarackiovs Adgpovs | cele. in
terrorem.

926. olpot réXas: in self-commiseration, with impatience.

928. GAN i: either (1) in continuation, cagés & av cirev
ovdé év dXN’ } . ., ‘nothing else except’ (cf. 227 n.), or, simpler

and better, (2) beginning a new sentence, ‘but (he gave

utterance to) either Scamanders, etc.’

‘XKapdvdpous’ 7% ‘tadpovs.’ It is not easy to realise the
precise objection here. There is presumably something said by
Achilles (912) in the Phryges with reference to his fight with
the Scamander (J/. 21. 305), and at the trench of the Greek
camp (ibid. 18. 215 sqq.). Perhaps if we possessed the play we
should find obscurities of phraseology in the context. It is
unsatisfactory to suppose that it is merely the warlike talk of
great exploits which is considered too ‘ robustious.’

929. yputratérous. alerds is the spelling of Aeschylus (e.g.
Cho. 246) and is alone found in Attic inscriptions of the best

929-933 NOTES | 201

classical time (Meisterhans, p. 25). A ‘griffin-eagle’ is an
‘eagle of the griffin species’; cf. adialeros, vuxrateros. In
Aesch. P. V. 829 d&vaorémous yap Znvos axparyets kivas | ypd7ras
gvragac the kinship of eagle and griffin is implied. In the
common conception the griffin has a lion’s body and an eagle’s
head and wings.

ér domidev . . xadknddrovs. Aeschylus is fond of
descriptions of warlike blazons and emblems on shields. See
S.c. T. 479, 526.

trraéxpynpva : cf, 821 pjual’ trmoBduova, 1056, and xpnuvo-
mods as epithet of Aeschylus (ub. 1367). There is no need to
read i(kpnpva (from e.g. P. V. 437). Compounds in irro-
often express size; cf. immadexrpvdva 932n. It is true that
these are regularly nouns, but there seems no reason why, if
once tm7o- had acquired the force of weyado- or bWndo-, adjectives
should not be similarly constructed. =‘ Big beetling phrases.’

931. 45n wor’ év pakp@ x.t.X., ‘in a weary length of (wake-
ful) night’; from Eur. Hipp. 375 én mor’ dddws vuKrds év
BMakp@ xpovw | Ovnrav éppdvric’ 7 SiépOaprar Blos, to which (or
an equivalent lyric passage) allusion is made also in £y.
1290 sqq.

932. tov Eovldv immadextpvdva. [The anapaest in the fourth
foot as in Nub. 1427 oxépar dé rods ddexrpvdvas cal Tada Bora
rovavriand inf. 937. To alter to tmmadéxropas is a most arbitrary
proceeding, especially in view of the ease with which v and
are slurred as semi-vowels. Cp. yeviwv, Epiviwy, etc. in tragic

lyrics.] The creature here meant is said by the schol. on Pac.
1177 (q.v.) to have been mentioned in the Mupyddéves of
Aeschylus, and the compound evidently amused the comedian
(cf. Av. 799), who chooses to regard it as a hybrid of horse and
barn-door fowl. For the real sense of tmao- cf. 929 and eg, |
immocéhworv, imropvpuné, also the English horse-(radish, etc.),
In Pac. 181 Aristophanes’ own immoxdv@apos is meant to play
upon both senses,

Eoubdy. It happens curiously that this word possesses two
distinct meanings, viz. ‘brown’ (fulvus) and ‘clear-voiced’
(argutus), and it is often impossible to tell which is meant (as
in f0v0h dndwy, Eovbh wédicoa). But in the present connexion,
and generally where dyddv is in case, the more natural reference
is to the voice. The loud call of the giant Chanticleer is more
significant than his colour, and in the picture it would be
denoted by his attitude.

933. onpetov: such emblems (onpela, émrionua, rapdonua,
insignia) are commonly said to have been carved or painted on

902 THE FROGS OF ARISTOPHANES 933-038

the prow, while the tutelary gods were placed in effigy at the
stern (cf. Verg. Aen. 10. 171 aurato fulgebat Apolline puppis).
But this is to make onyetov answer to ‘figurehead,’ which is
individual to a given vessel, whereas onuciov is the distinguish-
ing sign or badge of a whole contingent (somewhat corresponding
to our flag). That this is the notion here is shown by the
plural év tats vavotv (presumably the ships of the Myrmidons).
We may take it that each vessel bore a picture of a éovdds
immadextpvov at the stern, which is the position of the onyetoy in
Kur, J. A. 255, where the Boeotian ships are onpelouiv éoroX-
ouévar* | trois 5é Kdduos Hv | xptceov Spdxovt’ éxwv | dugdl vader
képuuBa, ibid. 275 rptuvas ofjua Tavpdrovv . . ’Addedv,

éveyéyparrro: i.e. éyyeypaupévos Fv 6 immadextpuwv. The
tense indicates the previously existing circumstance which led
Aeschylus to use the expression: ‘it was a painting. . to
serve as a onpetov.’

934, *"Epvfiv: either an ugly bird-like person (as the schol.
guesses), or possibly a person with a loud crowing voice.

7

935. twofjoa, ‘to represent in poetry.’ In kal ddexrpvova
the particle throws a sarcastic tone upon the noun only: ‘to
poetise a cock !’

936. twoia y’ éoriv. The mss. favour this as against rot’
arr’, though the latter might easily be corrupted. ‘ye is some-
what difficult, but (1) may belong to the sentence and not to
moia, forming (with 8€) a retort (see Neil, Append. i. to £7q.,
where he also states that most uses of ye are developments of
‘well,’ e.g. ‘Oh, well. .’). Yet ov dé y, & .. would be the
natural order ; (2) may throw a peculiar tone upon rota (= ‘ of
what precious sort’). The latter is perhaps preferable; but
see crit. n. :

937. tpayedddous: cf. 929. Though treated as entirely
fabulous by Plato (Rep. 488 A ofov of ypadpis rparyehdgous Kal TH
rowaira puyvivTes ypdgpovor) and Aristotle, the notion of the
animal was probably derived from a bearded antelope of SW.
Asia (Pliny, H. NV. 8. 33. 50).

938. wapaterdopaciw: hangings or tapestries. With tots
My dukois there is some contempt. These monsters are all very
well on Persian tapestries, but not in Greek poetry. For this
Persian (or Babylonian) work cf. Hipparchus (Com. Frag. iv.
431) éxet Samldiov év d-yamrnrov toikidrov | Ilépoas éxov Kal yptmas
éfdders Twas | Tv IlepouxGv. ‘ypadovorw is used of any delinea-
tion ; here with the needle (acw Mart. 8. 28.17). Cf. (wypddew
of such embroidery.

939-942 NOTES 203

939 sqq. @s mapéX\aPov «.t.A. Euripides ‘took over’
Tragedy (personified) from Aeschylus and found her dropsical
or suffering from excessive corpulence. Acting as her physician
he reduces her by exercise and a thinning diet. [Quintilian (2.
10. 6) has the same simile of distention in style.] The words
used of the ailment and the cure are all puns or plays upon
medical terms. Thus it has been pointed out that twepumdrois
is both ‘ walking exercise’ and ‘argumentations’ (cf. 953), and
érvAdlois suggests éprvANos (Merry). Similarly cowracudrwr
and pyudrwy glance at words implying indigestible or flatulent
diet and its results, pnydtrev almost certainly standing for
pevndrwy (‘humours’). tevrAcoicr is probably meant to suggest
reuvrdgew (of fussy trifles). orTwpvApdrev alludes to some
pounded herb medicine, and B.BAtwy at once recalls tpyBXiwv.

mapéhaBov . . rapa cod: the repetition of the preps. after
the compound verb is usual in Aristoph. and becomes regular
in prose ; cf. 962, 1013.

evO0s: with ws mapékaBov. The word which would in the
English idiom belong to toxvava is in Greek rather joined to
the temporal relat. or participial clause (corresponding to the
familiar tot Oépovs evOds dpxouévov oi IleNorovyjow. éoéBadov
Thue. 2, 47). Here we might have had mapadaBav ed0ds rhv
Téxvnv, ‘immediately on taking over.’

941. toxvava. [Not icxvnva. For the facts concerning
aorists of -aivw see Rutherford, New Phryn. pp. 76-78.] The
word is medical; cf. Hippocr. 1254 oldjuata . . ioxvatve.,
Plat. Rep. 5610 bédporordv Kal xaticxvawdpuevos, Aesch. P. V.
396.

76 Bdpos : the weight of flesh ; though in reality Eur. also
reduces the gravitas of the poetry. addetdov: frequent of
removing vexations, etc.

942. érvdXlots, ‘versicles.’ The same dimin. is applied to
the lines of Euripides in Ach. 398, Pac. 532. They are light
and slight things as compared with the packed line of
Aeschylus.

tepirarois: with allusion to the other sense dcarpiBais (cf.
953).

revtAlourt AevKois, ‘white beets,’ which had a mild laxative
effect (edxoi\vor Dioscorides). Cf. Plin. H. N. 19. 8 candidis
(betis) solvi alvos modice, nigris inhiberi, Mart. 3. 47. 9 pigroque
ventrt non inutiles betas. There is also a play on rtevrdgew,
and Aevkois in the secondary intention implies ‘bloodless’ or
‘colourless’ commonplace.

204 THE FROGS OF ARISTOPHANES 943—949

943. amd BiBAlwv: of e.g. Anaxagoras (cf. Plat. Ap. 26 8).
The expression both denies originality to Euripides (cf. 841) —
and also mocks at his philosophic originals, which are, after
all, but orwutd\uara. For the reading of Eur. see his own
Alcestis 962 sqq., and, for his collection of books, Athen. 3 A.
TpuBAlwy is suggested in BiBXiwv (cf. Alexis, Com. Frag. iii. 448).

944. avérpehov povwdlais k.7.A., ‘I began to feed her up on
monodies, with a blend of Cephisophon.’ povedtas plays upon
some light species of food and Kydiropdvta is pungently
substituted for ‘vinegar.’ That Cephisophon and dgos were in
some way connected (éf0s or dls being perhaps his nickname)
appears from.v. 1445 (=1453), There is a double sting in the
name: (1) Cephisophon, an inmate of his house (cf. 1408), was
reputed to help Eur. in his plays, particularly in the lyrics
(schol.). Cf. 1444 (=1452) and the frag. of Aristoph. in Vit.
Eurip. : (2) the character of Cephisophon was said to be in
keeping with the ‘ Cretan’ immorality of the monodies (849 n.).

945. & ri. rixom’, ‘the first thing that came (up).’ The
dramatic method of Euripides was not to ‘rush in (to his
subject) and create a muddle,’ but to begin in an orderly and
lucid manner with an explanatory prologue (at which prosaic
proceeding Aristoph. is, of course, mocking) ; see, for example,
the Jon, Hecuba, and Bacchae.

éutreadyv Epupov: cf. Hg. 545 Kxovx dvojrws éorndjcas (on to
the stage) égrvdpa, Hdt. 3. 81 w0ée eumecav ra mpdyuara

dvev vov.

946. Td yévos . . Tod Spdparos, ‘the pedigree of the play,’
i.e. the happenings which had led up to it, or events which
engendered it. The word yévos is chosen for the sake of the
familiar hit at the birth of Euripides (cf. 840 n.).

948. ovdév x.7.A., ‘I permitted no idle (element) in the
play,’ i.e. every character had something to say or do. This
might have been expressed by ovdéva (no persona). With odvdév
no definite word (e.g. rpédcw7ov) should be supplied.

949. ovStv Arrov: i.e. as freely as the é\evGepos and deorérns.
The women and slaves of Eur. are permitted to speak with as
much rightness and understanding. This was unusual, and
Aristotle (Poet. 15), while requiring that #07 in tragedy should
be xpnord, also requires that ‘they should fit their several
classes, kal yap yuvyn éorw xpnorhn Kal dotdos, Kalror ye tows
rovrwy Td mev (the woman) xelpov, 7d dé (the slave) ddws
patrdv éorw. Inthe Agamemnon of Aesch. the large part of
Clytaemnestra is explained by her possessing dvdpdBovAov kéap.
Origen (c. Cels. p. 356) says that Eur. xwymdetrar because he

952-959 | NOTES 205

puts into the mouths of PBdpBapo 7 yuvatkes 7 Sof\xn the
language of philosophy (cf. Ach. 400 sq.).

952. Snpoxparikdv: i.e. on the principle of the equality
of man.

* rotro pev=Totré ye, a use frequent with demonst. and
personal pronouns (Kiihner-Gerth ii. p. 140).

953. od gol yap .. KdAAtoTa, ‘you are not the man to
make the best of a case about that.’ The adverb is used
(instead of xdA\toros) with an eye to the sense, which=od
ov tmepirarov ay mowto. tmeplraros=discussion of a theme
(originally carried on while walking). The reference is to the
aristocratic leanings of the Socratic circle, including Plato,
Xenophon, Critias, and Euripides. Some suppose an allusion
to the withdrawal of Eur. to the court of Archelaus.

954. rovrovol: always deictic, ‘these spectators here.’

956. Aerrav Te Kavdvev éoBords: sc. édidata (avrov’s). Eur.
taught the audience new finical and carping methods of
mechanical criticism, Among the abilities implied in Aadeiv
was the ability to talk ‘literary judgment’; cf. 799.

éoBodds: not=mpocBords (‘applications’), but ‘invasions’
or ‘introductions’ (=‘new fashions’); cf. Eur. Swppl. 102
kawas éoBords op Adywr, inf. 1104.

érav . . yaviarpovs, ‘tests of the corners of verses,’ viz.
to see if their angles and edges are true.

957. voetv «.t.A. : the intellectual and moral results of the
smartness of didvoa exhibited in the Euripidean drama.

epiv texvatev: MSS. give épav, but all editors feel that the
word is out of place. It could only be defended as a deliberate
surprise, but even the surprise is clumsy. The comedians do
not, in a considerable list of words, insert one and one only
which is out of keeping with all the rest. &pw texvatev=
‘contrive a disputatious caption’; cf. épo7iol and inf. 1105
brurep obv exerov épifew Néyerov. :

958. Kdx” trototmeiobat: in all probability Aristoph. is
hinting at the suspicious jealousy entertained by the people as
to the designs of the oligarchical party.

959. oixeta mpdypar’ «.7.X.: this is not merely a claim to
be a realist from the artistic point of view. He claims also
that his themes, touching everyday realities, are a useful
practical lesson. For the supposed function of a poet as
teacher see 1008 sqq. n. The repetition in ols xpdpeb’, ois
Evveopev is intended to press home the point. For the ex-

206 THE FROGS OF ARISTOPHANES 9s9—064

pression cf. Vesp. 1179 uy ’uol ye utOous, ddd TOV dvOpwrivey, |
olous Aéyouev wddiora, Tovs Kar’ olxiay. In 980-88 Dionysus
reduces these lessons of the o/xeta to the absurd.

eiodywv: the proper word of a theme, as rapdywy (1054) is
of a rpscowrov, brought on the stage.

962. ard Tod poveiy Groomdoas: for the repeated preps.
ef. 939 n. Editors take droordoas transitively, ‘having torn
them from their reason,’ but it is worth while considering the
alternative of an intrans. use (as in dmogoetv). For this ef.
Xen. An. 1. 5. 3 word yap aréora de’yovoa, Lucian, Jcar. 11
émel 6¢ kar’ abrhy riv cedhvnv éyevounv waumodv TéY vededdv
droomdoas. ‘You got off the track’ (lit. ‘pulled off’) is the
more probable meaning.

&érdyrrov: imperf. of attempt. Aristotle (Poet. 25) desires
éxmAnéus in tragedy, but that effect must come from the intrinsic
power of the situation, not from any trick.

963. Kuxvovs: Cycnus, son of Poseidon and ally of the
Trojans, was defeated by Achilles in battle. The peculiar
fight with the invulnerable Cycnus and his transformation
into a swan when throttled by Achilles are told by Ovid (Jet.
12. 72 sqq.).

Mépvovas: Memnon, also on the Trojan side, was son of
Eos and Tithonus. Aeschylus wrote a Memnon, in which that
hero (who possesses ‘paorérevxtov mavomNlav) is slain by
Achilles, but obtains immortality through the prayer of his
mother. The Wuvxocracia of Aesch. also dealt with these
events.

Kwodevohadapoterovs: driving horses with bells on their
trappings. Bells, as a means of creating é8os, appear in
Aesch. S. c. J. 373 under the shield of Tydeus, and in [Eur. ]
Rhes. 306 on the frontlets of the horses of Rhesus (cf. ibid. 383

Kéutrous KwOwvoxpdrous).

964. Trois tovrov te Kapod y : the reading is somewhat
dubious (kapod y’ and Kapod with hiatus being the variants).
Dobree’s kapovs recalls two common idioms: (1) gen. parallelled
by possessive adj., e.g. Eur. H. F. 213 marnp av ein obs re Kal
rovutwv, Bacch. 1277 éuf re kal mwarpds Kowwvig ; (2) possessive
adj. accompanied by gen. of the same person, as in ra éua
Kaka TOU Kakodaiuovos or nostros vidisti flentis ocellos. On the
whole it is better to choose the reading for which there is
MS. support. vy’ belongs to the whole expression, i.e. =yvwret
dé Tovs ye wabyTras ExaTépouv.

padnras: not in the strict sense, but as representing the

965—966 NOTES , BOF

respective influences. A poet has ‘disciples’ in the shape of
those who affect him and who mould themselves on his
characters.

965. rovroupevt: a frequent position of the deictic -(; cf.
vuvuevl, vuvdi, Touroyl. More curious is the position of uév and
ye in évuevrevievi, évyerevdevi.

Popplovos: this proper name is used in Eccl. 97 as a
synonym of ‘hairy part.’ Hence the following reference to
iain (‘moustache’). A Phormisius was one of those who
‘came back with the people’ after the tyranny of the Thirty
(403 B.c.). But this does not prove that our P. was this
popular leader.

Meyatverés 0? 6 Mavis: we know nothing of Megaenetus.
A variant is Mayvns.. The schol. (who appears to be guessing)
says that he was av0ddnys kal trav orparnywvTwr. If Mayas
is right, there may very well be a reference to the proverbial
UBps of the Magnesians (Ath. 525c, Theogn. 603 rodde kai
Mdyvyras drwecev Epya kal UBpis), ie. he is 6 UBpiorys. [Also
there might be a hint at non-Attic parentage.|] The alterna-
tive Mavfjs (or pavys) has been variously explained as (1) a
common name for a Phrygian slave (Zvpos 7) Mavijs Dem. 1127);
but this is quite unsuited to the context; (2)= ‘unlucky
gambler,’ since, according to Pollux (7. 204), udvys is the
name for an unlucky throw. Merry renders this notion by
‘Mr. Deuceace.’ But we may also, and with more probability,
suggest that it refers to the game of xérraBos. In this the
pavns is a bronze figure, upon the head of which the mAdorvyé
descends when the Adraé strikes it fairly. Such a pdvns
may have had a conventional appearance, which Megaenetus
strikingly resembled.

966. cadtruyyodkoyxurnvddat: for the patronymic cf. 84 n.
_ The sense is ‘sons of trumpet, lance, and moustache’=‘ Black
Mousquetaires’ (Merry). But (since no compliment is in-
tended) the sense is perhaps more exactly ‘whiskered to
suggest lance and trumpet,’ i.e. with hairy faces which look
swaggeringly martial, while their owners may be little of the
sort. A proverb for a fire-eater was A\édyxas éofiwy ; cf. 1016
mvéovtas Odpu kali Néyxas. For soldiers and hair, ef. Iuv. 14. 194.

capkacpomitvokdpmrar: they are mirvoxdumra so far as
their sneering looks go. The reference is to the legendary
brigand. of the Isthmus, Sinis (or Sinnis), who tied his victims
between the heads of two pines which he had dragged together,
and then let the trees fly up and apart. He was himself
treated by Theseus in the same manner (Plut. Zhes. 8, Ov.

208 THE FROGS OF ARISTOPHANES 967—971

Met. 7. 441). Hence airvoxdurryns= ‘merciless bandit,’ and
the men named put on that appearance. The schol. is pro-
bably right in his ws capxdgfovras pév Kal mpoomotoupévous Ta
ToNemtkd, ovK aAnOds dé ToLovTous. ;

967. Kderopav: probably the man whose name is given to
a dialogue falsely attributed to Plato. He belonged to the
Socratic circle (Plat. Rep. 4288). The schol. apparently
possessed more information, since he explains ws dpyds
EKWULMOETO.

Onpapévys: 549 n.

968. copds y¥ avip: 652 n.

969. iv Kakois trov Tépiréoy Kal tAnolov trapacry. This
is quite sound, and there is no need to attempt tts for tov or
to make kal=%. mepiréoy is not ‘incur’ (i.e. ‘suffer from’),
but ‘get in the way of’ (=évrvxy). Following a certain path
Ther. may ‘find himself meeting trouble and get very close
to it.’

970. wérrwxev: pref. of complete (and also immediate)
realisation ;: ‘there he is, (at once), clear outside.’ This, as
well as the aorist, forms a gnomic tense (Gildersleeve, Gk. Synt.
§ 257, Goodwin, M. and T. § 154). Cf. Vesp. 492 Hv peév dvijrai
Tis 6ppuws, meuBpddas 5é wh *OEXy, | edOEews elpny 6 TwdrOv K.T.X.,
Eq. 717 r@ pev drlyov évrlOns, | adrés 5 éxelvov rpimddovov
karéoraxas, Theogn. 109 ete. The metaphor is from the fall,
lucky or otherwise, of dice. Theramenes is always in luck.
Cf. Soph. fr. 763 del yap e& mlarrovow of Ards xvBo, Aesch.
Cho. 967, Shak. Hamil. 4. 7. 69 Jt falls right.

ot xios GAAG Ketos. In dicing with dorpdyadko (marked on
four sides) the worst throw was called xios, the best x@os
(corresponding respectively to the Latin canis and Venus).
Aristotle (H. A. 2. 1. 34) gives 7a xa as the inner, 7a xa as
the outer sides of the knuckle-bones, and probably these
words had originally nothing to do with the islands of Chios
and Cos, although such an association would naturally be
imagined. Since Theramenes (Plut. Wic. 2) eis dvoyévecay ws
Eévos éx Kéw NeAorddpynrar, Aristophanes substitutes the sneering
word Ketos for x@os, punning upon the names of the two
islands. There seems, however, to have been no real ground
for the charge of Cean birth.

971. [Euripides sings the following lines and Dionysus then
takes up the tune. }

ro.wtra : with ppovetv. For the crasis in pévrobvyé cf. Eccl.
410 névrotpmackev, Vesp. 159 nov>xpncer.

976—992 NOTES : 209

976. tas oixlas oiketv; 105 n.

979. tis todr *aBe; Bentley’s 768’ daPe is based on the
frequent confusion of 76de and rovro, but the metrical objection
is not certain. In Nub. 1386-1389 there are three lines of the
scansion ~=/ U—| “=| ww against one of the scansion
“= |U-—| =|, and even in the trimeter dialogue a
tribrach sometimes stands in the last foot (Introd. p. xxxviii). ]

980 sq. Dionysus playfully speaks as if the extremely
economical habits just now prevailing at Athens were the out-
come of Euripidean teaching. In reality the pinch of the war
was being severely felt, and it interfered with the previous
conception of behaviour becoming to a gentleman (€\ev@epos).
The word ’A@nvaiwv has its point. [There may also be a hit
at parsimony and suspicion in public expenditure. ]

981. elovay: sec. olkade.

983. xitpa: some cheap crockery pot, which nevertheless
he misses.

985. patviSos, ‘sprat’: a poor little cheap fish (Mart. 12.
32. 15 inutiles maenas).

7d mepvowwdv, ‘which I bought (only) last year.’ Even an
earthenware basin and its date are remembered. Té@vnxe
suggests parody. 7

987. Td x@fivdv, ‘left over from yesterday.’ Cf. Iuv. 14.
129 hesternum . . minutal.

990. kexyvores: a proverbial expression for gullibility. Cf.
Eq. 755 (of the djuos) and 1263 rH Kexnvaiwv mode.

Mappdxv0or. The word is plainly connected with udupun
(cf. BrArrouduuas Nub. 1001), and was used proverbially like
Mapyirns, Medcridns, Képo.Bos etc. for a ‘simple Simon’ or
‘ Milksop.’ .

991. MeAnriSar. Whatever may be the true spelling of the
ordinary word, this is to be here accepted, as being an attack
upon a Meletus (cf. 1302). Medridys, the current form, is
apparently connected with pédc (cf. BrArrrouduuas). But the
familiar use of 76s and yAuxvs as ‘ sweet innocent’ (Plat. Rep.
337D, Hipp. Ma. 2888) suggests that sense rather than
‘ Sugar- Baby.’

[992 sqq. This chorus is supposed to be antistrophic to 895-
904. The assumption involves difficulties (otherwise unfelt) in
the metre of both portions, and it appears better to admit a
general similarity without pressing exact correspondence, |

Ms

210 THE FROGS OF ARISTOPHANES 992—1005

992. Tade pev Aedooes K.T.A. The Myrmidons of Aeschylus
began with this line. We may assume that the passage con-
tains further parody or semi-quotation. Aesch. is identified
with his own Achilles, through the same characteristic qualities
of anger and sullenness.

995. éxrds oloe THv éEXadv': a metaphor from chariot-racing.
The particular race-course at the end of which ‘ the olives’ were
planted is naturally one familiar to Athenians, used especially
at the Panathenaea. A driver should round the turn short of
these, but an unmanageable team might carry him out beyond
them. Cf. Aesch. Cho. 1021, P. V. 909 for the expression éw
(dpduov) péperv.

999. ovoredas Ukpowor K.T.A., ‘take in reefs, and, using
but the edge of your sails, then bring her (round to the wind)
gradually.’ d&&ews appears to be a nautical expression. While
the gale of his anger is strong he should shorten sail, but, as it
settles down, he may come round to the gentle wind of an even
temper.

d&kpo.rt: ie. not catching the wind on the full sail, but
only on a narrow strip at the top when reefed. Cf. Eur. Med.
523 dore vads Kedvov olaxoorpdgov | &kporot Aalpovs Kpacmédors
YrekOpamev. |

1001. padAov paAAov, ‘more and more’ (=‘ gradually’).
Cf. Eur, J. 7. 1406 muadrov 5é waddov mpds mérpas je oKxddos,
Catull. 64. 275 magis magis increbrescunt.

1004. GAN @ «.t.A. Before what is technically known as
an aywy of the following kind, it is regular for the Coryphaeus
to speak two lines of exhortation beginning with ddd . . and
adopting the metre to be employed (Zielinski).

Tupyooas phpara oepva: ie. Aesch. first raised tragic
diction to dignity (weyva being proleptic). Cf. Hor. A. P.
280 (Aeschylus) docuit magnumque loqui nitique cothurno and
Antipater (quoted in v. 925). For the metaphor cf. Milton’s
‘build the lofty rhyme,’ and Aristophanes’ own claim to have
done a similar service to comedy, Pac. 749 émolnce réxvnv
peydrnv juiv Kdaripywo’ olkodoujoas | érecwv peyddos Kal
Ovavolats K.T.A.

1005. Kooptjoas tpayiKdv Affpov. It may be suggested that
point is given to this expression if there is an allusion to the
proverbial Zrdpray @daxes, ravray Kdouer. Aeschylus had for
his province tragic diction, and that he adorned. Afjpov also
gains if it is thus a apa mpocdoxiay pun upon KAjpov (‘demesne’
or ‘province’). The Coryphaeus does not mean that all

1005—I014 NOTES 211

tragedy is \fpos, but that, ‘when Afpos occurs in tragedy, you
knew how to give it a fine air.’

Tov Kpovvoy dadle, lit. ‘set the spout going.’ Cf. Hg. 89
KpovvoxuTpoAnjpacov ei, Cratin. fr. 186 dwidexdxpovvoy 7d ordua
(with allusion to the public fountain ’Evvedxpovvos).

1007. et . . Set: rather than é7c det after verbs of the sense
of dyavaxrely (e.g. péuderOar, Sewdv moetoPa etc). Cf. Plat.
Lach. 194A dyavaxr® ei ovrwol & vod pi otds 7’ eipi elzety.

1008. dméxpwat: turning suddenly and accosting his
opponent.

Oavpatev, ‘pay respect to.’

1009. Se—idtHTOS k.T.A. Asis shown by the use of kal. .
te. . (which cannot=xai.. xal..), there are only two
grounds given, viz. (1) deéérns, (2) vovdecla Sri re BeXrious
k.7.’. The re-clause is in fact exegetic or amplificatory to
vovlecta. [The slight misplacement of te is frequent (Kiihner-
Gerth ii. p. 245). Cf. 1070.]

SeEvdTHTOS : not with any special reference to what Aristotle
calls the didvo.a or intellectual power pervading tragedy, but in
the sense of technical ability as playwright. Cf. 71 déoua
monrov de&o0, 762.

vov0eo(as: the moral and intellectual influence upon the
audience, through the wise yrGua uttered and the high #67
delineated.

Stu BeAtlovs Te k.7.A. Aristophanes is with those who treat
a poet as a teacher (1054 sq.). This was the common Greek
view, the notion of the poet as simply an artist being held by
a minority. See Butcher, Avristotle’s Theory of Poetry and
Fine Art, cap. v., and cf. Strab. 1. 3 morhy yap én (se.
Eratosthenes) mrdvra oroxydfecOar wWuyaywylas, od didacKkaNnias.
rovvavtiov 5 ot madaol gdirocodiay twa éyovot mpwrnvy Thy
TwonTikhy, eladyouoav eis Tov Blov Huds é€x véwy kal diddoKovoay
HOn kal rdOn kal rpdéeas wel’ Hdovjs. See also Hor. A. P. 333 sqq.

1012. mwaGetv: the full legal formula is radety # daoreion,

pyces, ‘will you admit’ (xaragpjees), as in e.g. Soph. Ant.
442 pis 7) xarapya uh dedpaxévar rdde ;

reOvavar. Dionysus forgets that he is not in the land of
the living. For the perf. cf. 970 n. and Thue. 8. 74 iva, fy

Ly Urakovwot, TEAVAKWOL.
1013. tap’ uot twapedéEaro: cf. 939, 962.
1014. tetpamh ets, ‘sixfooters.’ Cf. Vesp. 553 dvdpes meyddou

212 THE FROGS OF ARISTOPHANES to1rg—t1019

kat terpamyyes, Shak. Rich. III. 1. 4. 156 Spoke like a tall
fellow! The rixus was 18} inches.

StadpacimoAiras. The proper translation is ‘citizens of
Diadrasipolis’ or ‘men of Shirkton.’ According to the classical
Greek idiom the said town would be named Acadpdcews mods
(not Acadpacirois). Thus ‘Megalopolis’ is Meyddn 7éXus,
with ethnic MeyadoroXirns. In Hq. 817 wixporodtras = ‘ citizens
of Mixpa drs,’ Ach. 635 xavvoroNlras=‘men of Xavvyn drs.’
At v. 1114 the schol. has the expression diadidpdoxovras Tas
orparelas, and the allusion here is to that sense. Cf. Ach.
600 dpa&v moriods pev dvdpas év tals rdéeor, | veavias 5’ olovs od
diadedpaxdras.

[As merely equivalent to ‘shirking citizens’ the compound
would be irregular, though tragedy has such forms as dpioré-
pavtis, mpoBovrdmas, kaddlarais, in which the first element is
equal to an adj. qualifying the second. We cannot, again,
understand it as=dvadidpdoxovras Thy mod (i.e. its duties).
This would be dsadpaccrdrecs (cf. pirordXets). ]

1015. KoBddovs: 104 n.

1016. mvéovras Sdépv x.t.A. Cf. Hom. Jl. 24. 364 pévea
mvelovras ’“Axaovs, [Eur.] Rhes. 786 Oupdv mvéovea, Cic. ad
Att. 15. 11 Martem spirare diceres. dbyxas probably refers
to the cavalry, Sd6pv to the infantry.

1017. émraBoelous: with a play upon (1) the proverbial
shield of Ajax (érraBdeov Il. 7. 219, érrdBorov dppnxrov ocdxos
Soph. 4j. 572), and so implying ‘courage of an Ajax,’ and (2)
‘equal to seven oxen,’ ‘of seven ox-power’ (Paley), with an
allusion to ravpou Oupds.

1018. Kal 8} xwpet «.7.A., ‘There you are! the trouble is
upon us’; a current colloquial expression. Cf. NWub. 906 rovuri
xwpel kal 6) 7d Kaxdv, Vesp. 1483. Kal d4 lit. =‘e’en in fact’ ;
thence practically = #67.

Kpavotro.ay ad, ‘ hammering away at his helmets’ (Merry),
referring to tpvdadelas and mfAnxas. Aeschylus is charged
with a particular fondness for introducing helmets and crests
(xpdvn Kal Nédous Sinyovpevos schol.). In -odv there are the
two senses ‘make’ and ‘ poetise’ (helmets). It should also be
observed that ad is frequent in indignation, though more
especially in questions. Cf. Hq. 336, 338.

érurpliper, ‘will be the death of me’ (with boredom). Cf.
dro\e?s 1245 n. . .

1019. ottws, ‘as you say’ (cf. 1014).
yevvatous é€ediSatas: without eva. Cf. Eur, 27, 376

102I—1026 NOTES 213

(revia) Siddoxer & dvdpa tH xpela xaxdv, Med. 295 xpi 5’ ovrro6”
.. waidas mepicods ExdiddoxerOar coors.

1021. ” Apews perrov, ‘full of the war-like spirit’ (cf. dppodirn

= ‘spirit of love’). So Aesch. S. c. 7. 53 Nedvrww dpyn dedopkéd-
rw, Plut. Mor. 757 B rots 7d waynrixdy ev juiv Kal didgopor Kat
Oumoerdés “Apnv KexAjoOa voulfovow. According to Plutarch
(Mor. 715 &) it was Gorgias who applied this expression to the
Seven against Thebes.

tovs ert’ érl OnBas: sc. rojoas. This was the recognised
name for the seven champions, and not merely for the play of
Aeschylus (cf. Dem. 1390, Ath. 224 év r@ dpxetoOar Tovs err’
éri O7nBas). [For Atti¢ two expressions would be normal, viz.
oi érra oi érl O7Bas (sc. orparevoavres) or of émi ONBas orpared-
cavres értd. Our phrase must, however, have been derived
from oi @mr’ émi O. (ehOdvres) = ‘those who came against Thebes
to the number of seven,’ but ém7r’ émi O7n8as had come to be
regarded as virtually a compound. ]

1022. dv . . Hpdoby: frequentative. Cf. 911, 920, 924.

Sd.os : ny og word introduced with deliberation ;
‘doughty,’ ready for deeds of ‘ derring do.’

1023. tovtl pév: see 952 n.

kakov elpyacrat, ‘has been a bad piece of work on your
part.’ [Not ‘has done you damage.’]

memonkas K.T.A.: not==éolycas (which would refer to the
time of the production of the piece), but ‘you have made them
the more courageous for the (present, i.e. Peloponnesian) war.’
The perf. expresses the result which has been left.

[The schol. and some editors take it as ‘you have represented
the Thebans as more brave than the Argives in their war.
But this is not true in fact, it would be pointless if true, and
the perf. is less good. ]

1024. rovrov y’ otvexa, ‘so far as that point (or claim) is
concerned,’ Cf. 1118, |

1025. ipiv: emphatic. air’: sc. ra dvdpela or modemiKd
understood from the context. Cf. 1466, Plut. 502 aodXol pév
yap Trav avOpmrwv bvTes rovTOvGL Tovnpol, | ddikws abra EvArNeEA-
pevot (SC, TH Xphuara),

émri rotr’: see 168 n.

1026. etra Siddtas Tlépoas pera totr’ x... According to
such authorities as we possess the Persae was produced in 472
B.C., While the Septem belongs to 467 B.c. This information
is not necessarily correct, but, if it is so, we may here suppose

914 THE FROGS OF ARISTOPHANES 1026-1028

either (1) that Aristoph. is in error as to the dates (a by no
means unlikely circumstance, since the ancients were no more
infallible than the moderns in speaking of a literary event of
sixty or seventy years ago), or (2) that neither etra nor pera
tovro refers to time relative to the Septem, but both are to be
taken in another sense. Thus eira may =‘and in the next
place’ (as opposed to the previous example), while pera totr’
may be joined to émuupetv ‘I taught them to be eager there-
after’ (‘as a consequence’). Since the expression ‘Then again,
by producing the Persae, I taught them thereafter to be eager
to beat the enemy’ contains nothing unnatural, it seems better
not to raise here the question of chronological sequence. It
is true that in Av. 809 we have mp&rov dvoua rH wore | OéoOar
TL péya Kal Krewdy, elra rots Beots | Oicat werd TodTo, and that
éreira “eTa ToUTO occurs in comedy, but the argumentative use
is not disproved by instances of the chronological use.

S.Sdtas, ‘produced’; the regular word applied to the poet,
who originally trained his own chorus and édvddoxKe Tov yopoy
TO Spaua. Of. xopodiddoxaros, Sidacxadia and Hdt. 6. 21
womoavTe Povvixw Spdua Midrgyrov ddwow kal dvddéavte.

Ilépoas. The titles of plays (merely as such) are commonly
quoted in Greek without article, as throughout Athenaeus and

~ in the brief notices called didacKxardia. Cf. 1124.

1028. éxdpyv yotv «.t.A. Dionysus was of course present
at the production of the Persae. The true reading is. perhaps
beyond recovery. Most mss. have the unmetrical éxapynv yotv
fvik HKovoa mepl Aapelov tebvedros, the poorly supported
(but old) variant Avlk’ aarnyyéAOn mepl . . being obviously an
attempt at emendation. In point of sense the latter is out of
the question, since no report is brought of the death of Darius.
Unfortunately our texts of the Persae contain no exclamation
favot to show us the reference. [Bloomfield, it is true (from
the present passage), suggested that in Pers. 667 we should read
Baoke warep &xaxe Aapet’, favot for Aapidy of, but ed0ds indicates
that something had just taken place or been said, whereas
Bloomfield’s emended line comes in the midst of a choric song.
We can hardly expect every isolated interjection on the part of
a chorus to be preserved in our mss., and the loss of an éavo? is
little more wonderful than the loss of the hand-clapping. ]

Since the ghost of Darius appears in the Persae, it is possible
that #kovoa contains the gen. elkods (‘ phantom,’ cf. Eur. H. &.
1002). If thisis governed by the following wép we have éxapnv
yoov fvik’ Uv — elxots mépr A. reBvedros. There exists an idiom
of Greek, too little recognised, but not especially rare, of which
the readiest example is Eur. . 7. 813 fxovoa, xpvofs dpvds jvix’

1030—1038 NOTES 215

fv mwép., ‘when it was a matter of the golden lamb’ (though
most editors wrongly supply épis from the context). Cf. Hg.
87 mepi mwérov yodv éori cor, Lysias 12. 74 od mepi wodirelas buiv
rat, d\XG wept cwrnplas, and (so far as éorl is concerned) Vesp.
240 crac Adxynr: vuvi. So here we may suggest éxapynv yotv
jvik<a y fv> eikots mépt A. t., i.e. ‘when it was a matter
of a phantom of Darius, he being dead’ (not rod reOvecros),
7 is open to no objection ; the special delight of Dionysus was
at that. The gen. elxods=elxévos occurs in Eur. Hel. 77.. So
dndobs (Soph. Aj. 629), yAnxots (Hippocr. 7. 160). Other
cases from the -oc- (instead of the -ov-) stem are Tas elkovs
(Nub. 559), (rv) etkw (Eur. AZed. 1162).

1030. d&vdpas: with mounrds; cf. 1008. [Very much less
probably we might construe xpy moiyTas doxety dvdpas Tatra
‘poets should train men in this way.’]

am’ apxfs: with yeyéevynvrar.

1032 sq. “Opdevs k.t.A. The association of the Thracians
Orpheus and Musaeus is frequent (cf. Plat. Rep. 364 8, Prot.
316 bp, Jon 536 B, [Eur.] Rhes. 943). Both are poets and
minstrels, both agents of civilisation. To Orpheus belonged
the Orphic reAeral, or purificatory rites of initiation, which
were a sacramental preparation for a happy future life of the
immortal soul; to Musaeus the oracles (xpynopol), which were
extant and registered (cf. Her. 7. 6, 9. 34). Plato (Rep. 364 B)
has BiBrwv dé buadov mapéxovrar Movoalov cal ’Opdéws . . Kab?
&s Ountodotow, melfovres ws dpa Adoes Te Kal KaBapuol ddiKn-
patov ud Ovor@v Kal madids Hdovdrv elci pmév Ere SGorv, eiol dé kal
TenevTHoaow, ds OH TeXeTas Kadodow. See Harrison, Proleg. cap.
ix. for Orpheus and Orphism. With the vegetarianism of
ddvev tT aéxerSar cf. Hor. A. P. 391 silvestres homines sacer
interpresque deorum | caedibus ac victu foedo deterruit Orpheus,
Eur. Hipp. 952.

Along with the founding of mysteries and oracles of advice
there went musical ‘magic.’ That Musaeus joins xpyopol with
e€axéoers vdowv is in keeping with the profession of the ancient
iarpouavris, the more refined outcome of the savage ‘ medicine-
man.’ Certain writings on herbal ’Axécers Néowy actually went
under the name of Musaeus.

“Hetodos: in the”Epya kal ‘Huépar
1036. Ilavraxdéa: called Tavraxd7js cxaéds by Eupolis (schol.).

1037. érepmev: i.e. was forming one of the military escort
to a procession (in all probability at the Panathenaea).

1038. Td Kpdvos mpOtov x.T.A.: i.e. instead of fitting the

216 THE FROGS OF ARISTOPHANES 1038—1043

crest into its socket and fixing it from inside the helmet, he
put the helmet on first and then tried to fasten the plume on
top. In mepidnodpevos the middle is necessary and also zrept-,
since he fastens the helmet ‘on himself round (his head),’ ef.
mepibécOar Kwv7v, diddnua, etc. (the use of ém- being late Greek) ;
but for fastening a crest above a helmet both the active and
émt- are alone correct. The helmet is ‘bound round’ the head
by its chin-strap.

Hpedd’ : the comedian would not use this form for @weAXe in
an ordinary trimeter.

1039. Adpaxos tpws. Lamachus had somehow acquired
the sobriquet or standing title of #pws. During his lifetime it
is mocked at in Ach. 575, 578 & Aduay’ Hows (425 B.c.), but
here Aristoph. is evidently speaking with respect. Lamachus
was one of the three generals sent in charge of the Sicilian
expedition of 415 B.c. and was slain in a sally of the Syracusans
in the next year (Thuc. 6.101). From Plutarch and Plato we
learn of his great physical courage, and we may assume that
some feat of prowess, or perhaps of strength, had won him a
name fit for Herakles or Theseus. The title is the more apt

here, since a #pws was generally understood as one of the semi-
deified dead.

1040. S0ev=d¢’ of (sc. “Ounjpov); strictly ‘from which
source. So unde frequently=a quo (of persons). According
to Ath. 347 & Aeschylus said ras atrod rpaywdlas reudxn elvan
Tov ‘Ounpou meydd\wv Selrrvwr.

a&trropagapéevny, ‘taking impressions’ (or ‘copies’). Cf. Thesm.
514 avréxuaywa ody (‘your very image’). The metaphor is
from wax modelling: cf. xjpivov éxuaryetov Plat. Theaet. 191 c.

mokAas aperas émdnoev, ‘represented (in poetry) many
types of excellence.’

1041. IlarpéxAwv: in the Myrmidons. Tedxpwv: probably
in the Salaminiae. @vpodredvtrwv: a word of Homer (cf. Coeur-
de-Lion).

1043. Paldpas: as Euripides did in the WHippolytus.
Aristoph. elsewhere objects to such characters in tragedy
(Thesm. 153, 546). Aristotle (Poet. 15) similarly insists that
the characters should be xpyord, but he would have seen that
the Phaedra of the extant Hippolytus is not simply vicious.
Doubtless the allusion is rather to the ‘earlier Hippolytus’
(‘Imméduros kad\urrduevos), in which female passion was much
more fiercely dealt with.

LBeveBolas. Stheneboea, wife of Proetus king of Argos, had

1044—1050 NOTES | 217

calumniated Bellerophon as Potiphar’s wife did Joseph.
Euripides portrayed this woman in his Bellerophon and his
Stheneboeu.

1044. épdcav. Positive passion in a woman was repulsive
to Greek sentiment. It is the motive of the piece in the
Euripidean plays above mentioned, but nowhere in Aeschylus.
His Clytaemnestra in the Agamemnon is represented as moved
chiefly by injured pride and a desire for revenge ; her passion
for Aegisthus is kept quite in the background. Plato (Rep.
395 D) forbids his poets to represent a woman ép&car.

1045. ob yap émrfjv ek "Adpod(rns x.7.A., ‘you bore no
stamp (or gift) of the Goddess of Love,’ i.e. ‘ you had nothing
charming about you.’ “A¢@podirn is here first the divinity, and
next ‘charm’ (1021 n. and cf. venus). Lucian (Scyth. 11) has
Tocavrnv ’Adpodirny émi ty yAwrTn 6 veavioxos €xer. For ériyv
cf. Nub. 1025 ws 750 cor rotor Adyois cHppov ereortiv dvOos, and
e.g. éreorl rin aldws, xdpis, etc. [R. has od8€ yap Fv with a
pee of meaning, viz. ‘you never enjoyed such a thing as
ove,’ ]

1046 sqq. GAdA* él tor oot «.7.X. Euripides had been
unhappy in both his marriages, and one of his wives was said
to have been guilty of infidelity with Cephisophon (cf. 944).

ToAAT Toddod “arikabfjTro, ‘she sat right heavily upon you.’
Cf. Eq. 822 moddot dé rod’v we xpdvov kal viv édedHOns, Nub.
915 @pacds ef roddod. In its origin the adverb toAAod was a
gen. of price (‘at great cost’ or ‘worth much.’) With modAj
ef. Kur. Hipp. 443 Kirpis yap od gopyrés, jy odd) pug, Thuc.

4, 22 rodvs évéxetro.

émuxabiro: cf. Theogn. 649 & dekh mevin, Ti éwotor Kabnuévn
duos k.T.. Well-known expressions of an overwhelming and
crushing power are éumirveyv, éuBalvev, évddrecOa. To these
émixabjoba ensues. Cf. Propert. 2. 30. 7 instat semper Amor
aut caput, instat amanti, Pet gravis wpse super libera colla
sedet.

1047. kar’ otv @Badev. So-called tmesis is not very rare in
Aristoph. (e.g. Ach. 295, Vesp. 437, Plut. 65), though usually
only a particle intervenes. It should be observed that, when
only oéy (the familiar Herodotean v) is interposed, the verb
is always aorist, whether preterite or gnomic.

Tours yé rou 84: sc. erolnoev 7 ’Adpodirn; ‘that she did,
indeed.’ Cf. Nub. 372 vip rév ’AwdAXw TodTS yé TH 5H TE viv
Abyw ed rpocédveas.

1050 sq. aGAdXxovs: a poetical word, allowable in anapaests,

218 THE FROGS OF ARISTOPHANES 1051—1054

and suited to the dignity of the remonstrance. There may be
an allusion to some actual case of suicide which had gained
notoriety. That any number of women should have drunk
hemlock because their sex had been shamed through the
Bellerophons ‘whom you are always talking about’ (rods wots),
is of course highly unlikely, but it is quite possible that such
plays of Euripides had created unjust suspicions in certain
households, and that some Athenian Desdemona had felt her
Othello’s behaviour so keenly as to commit suicide. [We are
not obliged here to discuss the question of the attendance of
women at the theatre, beyond remarking that they were almost
certainly present at the tragedies. ]

1051. kovea: the plural refers to the several instances
(‘doses of poison ’).

1052 sq. mwérepov 8’ odk SvtTa Adyov TotTov k.T.A. : not Td
Aéyov rodrov, but lit. ‘was it as an unreal story that I put this
(one) together concerning Phaedra?’ Cf. Soph. £7. 584 cxf
ovx otoav. EvvéPyka combines the senses componere and fingere
(of falseness, cf. £dv@eros). Euripides, adopting a familiar
argument of the realist, disclaims responsibility; ‘the thing
was so, and I described it.” The answer is that the choice of
subject lies with the artist, and that, if an ugly thing exists,
its existence is enough (and too much) without our obtruding
it in art. dmroxpiwrev xpi Td Twovnpdv agrees with Aristotle
(Poet. 15), who objects to such a mrapddevyua movnpias HOovs mH
dvayxatov as the Menelaus of the Orestes. In tov ye tronrhv
the particle implies that, whatever others may do, at least that
artist who is a moral teacher should beware of familiarising us
with such examples.

1054. wapdyew : see eicdyew 959 n. 7d rovnpdr is treated
as a character—an embodiment of baseness.

SiddoKev: either (1) teach the chorus as xopod:ddoxados
(1026), or (2) teach the audience. The latter agrees with what
follows, while the former gives both a comparatively unim-
portant point and also a wrong chronological order to wapdyew
and dcddoKeuv.

Tots perv yap tmawaploiow K.T.A. It appears to have been

easy to slip into the error of rendering ‘ for children have (éc7:)

a teacher, who (i.e. és, not Saris) tells them.’ [Blaydes even

makes the curious blunder of suggesting doris ppdgy=qui dicat,

for which the Greek is, of course, dc71s gpdoe.] The correct

translation is ‘for to little children whoever tells them (a
» thing) is their teacher, but . .’ See 1009 n.

1056—1065 _ NOTES 219

1056. madvv 87 k.7.A.: the particle sums up with emphasis ;
‘yes, plainly. .’

AvxaBarrovs. Mt. Lycabettus is the most prominent
object in the immediate scenery of Athens, being a bold and
massive hill close on the NE. Aeschylus ‘talks mountains’
with his pjua’ immdxpnuva (929).

1057. Ilapvdoowv. The conjecture IlapvqSev (Bentley
and Porson) is plausible, but not convincing, since the much
higher Parnassus was visible in Attica. [The -oo- is supported
by Attic epigraphy (Meisterhans?, p. 75). ]

1059. peyakOv yvopav . . tlkerev, lit. ‘of great maxims
and thoughts one must bring forth the expressions also with
the same greatness.” For yra@uar expected of a poet cf. 877 n.
didvora is one of Aristotle’s six elements of a tragedy (the others
being uidOos, AAs, Aééts, SYus, wedo7roiia),

tixktey: the mind is supposed to be in labour with these
great conceptions.

1061 sq. rots tparfois x.7.A. To Aeschylus is attributed
the introduction of the long and padded tragic robe, the high
éuBarns, and the imposing mask. Cf. Hor. 4. P. 278 post hune
(sc. Thespis) personae pallaeque repertor honestae | Aeschylus
et modicis instravit pulpita tignis | et docuit magnumque loqui
nitique cothurno. See Haigh, Trag. Drama of the Greeks, p. 68,
where he quotes Philostr. vit. Apoll. p. 220 cxevoroias Hyaro
elxacuevns Tols THv Hpwwv eldecow . . éEcOHpacl Te mp&ros éxdoun-
cev, & mpdogpopov Hpwot Te Kai Nopwlaw jojo Gat.

— Hpav: this is not a comparatio compendiaria (i.e. for ‘ than
our clothes’), but is entirely good Greek (though less frequent)
for 7 jets. Cf. Plut. 558 rod IdXovrou rapéxw Bertlovas dvdpas
(=% o Todos), Xen. An. 3. 3. 7 of Kpfres Bpaxtrepa trav
Ilepoay érdgevor.

1062. apod=a éuod, in which & refers to both 7a pjyara
and rots iuarlos, as is shown by mp@rov pev (1063) . . etra
(1069).

1063. pak apmoxav: 842 n.

1064. totr’ otv eBraa th Spdoas; i.e. ri ody Brava,
dpdoas rovro; Others read rather weakly Brad ri; ‘did I do
any harm ?”

1065. ovkouvv éé\e. ye x.t.A. The real reply would be
concerned with artistic principle, but it is time that the

comedian returned to levity, although the humorous answer
doubtless contains a political truth, :

220 THE FROGS OF ARISTOPHANES 1065—1071

ovkovv . . ye: regularly with an intervening word (Neil
Append. to Eq. p. 195).

tpinpapxetv. Among the Ayrovpyiac imposed upon the rich
the rpenpapxia would be the most frequent during the critical
times of the Peloponnesian war. The ship and tackling were
supplied by the state, their material upkeep by the tpijpapxos.
With the reduction of wealth during the war it became neces-
sary to associate two persons in the duty (cuvrpijpapxor).
The first recorded instance of this practice dates from the
year of this play (Gilbert, Greek Constitutional Antiquities, p.
370, Eng. tr.). In Antiphanes (/r. 204) the elopopd, xopnyia,
and rpinpapxla are complained of, and it is said yopyyds aipebels |
iudria Xpvcd trapacxwv TE Xopw pdKos Popet.

tovTaY = Kkalarep TouTaY,

1066. tmepuddAdpevos. The pres. particip. is generic or
frequentative, and should not be altered to wepuddpevos (with
Cobet). The mss. vary in their spelling (e.g. mepvedd-,
meprerd-). It is at least certain that -e:Aéw is late and out of
the question. The choice lies between -e(Aw and -iA\w, the
latter being (so far as Ms. evidence goes) preferable in the
sense ‘roll.’ In Nub. 762 the best ms. has tAXe, the rest efAXe.
{For discussion see Kiihner-Blass ii. p. 412, Rutherford, New
. Phryn. xxii., Jebb on Soph. Ant. 340 (Appendix). ]

1068. mapa tots ix Ois avéxupev : guomic; ‘he pops (bobs)
up alongside the fish ’=‘at the fish-market.’ The part of the
market in which an article was sold commonly went by the
name of that commodity, e.g. ra dAgira, 6 xAwpds Tupds, ai
xUTpat, 6 olvos (see Pollux 9. 47). Cp. Vesp. 789 dpaxunhy . .
diexepuarifer év rots ixbvow, Eupol. fr. 304 wepipdOov eis ra
oKkopoda> kal ra Kpbupva | Kal rov ALBaywrdv x.7.X. Fish was
the favourite luxury (8yov) of Athens, and to purchase fish
freely was a mark of the dWoddyos tpypSv. There is a special
humour in advéxuipev, which is itself used of fishes (Plat. Phaed.
109 zr). At Athens marketing was done by the men them-
selves, a slave being usually in attendance to carry home the
purchases.

1070. éexévwoev tas te tadalorpas. Logically re is situ-
ated as if some other ‘emptied’ place was to follow, e.g. kal ra
yuuvdoww. The result is a real ‘trajection’ of the particle.
Cp. 1009 n.

1071. tovs mapdXovs: the crew of the state galley called
the IIdpados, of which both the oarsmen (épérac) and the
marines (ériBdrar) were necessarily freeborn Athenians. These
were the pick of the navy and received somewhat higher pay.

AY

107 3—1084 NOTES 221

The Paralus, like the Salaminia, served either as warship or
on special missions (e.g. with dispatches, the ¢édpos, etc.).
The crew were always strongly democratic (Thuc. 8. 73). We
do not know the circumstances to which Aristoph. is alluding,
but there may be some reference to Arginusae, where, according
to Diodor. Sicul. (18. 100), the men did dvridéyew mpds rh
dvatpeow Tov vexpwr.

1073. patav Kadéoar, ‘call for barley cake,’ the staple
article of diet, composed of &Agira mixed with oil and wine
(Thue. 3. 49 and Hesych.). So ra dgita=‘ our daily bread.’
This use of xadeiv te is comparatively rare, but cf. Aesch. Cho.
651 éxrépaua Swudrwy cad, and a similar use of Body ri
(Av. 60, Pind. P. 6. 36, Soph. Trach. 772). It was probably
derived, not from the frequent xadetv tia (of a person), but
from a brachylogy xadéoar ‘uadgav (ddre).’ Cf. Vesp. 103
xéxparyev ‘ éuBddas,’ Xenarch. fr. 7. 13 Bog dé ris ‘ bdwp Vdwp.’
| pummatat, ‘ye-ho!’ the rowers’ cry on beginning (éuBdX-
New). In Vesp. 909 7d purmarat=76 vavrixdy, and in Hg. 602,
when the horses (i.e. the knights) row, they appropriately call

out lrmar7ra.

1077. viv 8 dvriAéyer. The abrupt change to the singular
is rather frequent. Cf. Vesp. 553 rnpoto’ éwi roto. dpuddxracs |
dvdpes weyddou kal rerpamnjxes* Kader evOds mpoordyre | EuBddre
poe Thy xeip’ dmradnjv (with Starkie’s note).

whet Sevpl k.7.A.: not as the wind carries them, but as they
keep changing their minds.

1079. mpoaywyots. In the extant plays of Euripides the
name might be applied to the nurse of Phaedra in the
Hippolytus. Handling such matters was considered so charac-
teristic of the poet that in Zhesm. 1172 sqq. he is himself
made to act the part of a ypais rpoaywyds.

1080. tuxtotoas «.T.A.: like Auge in the lost play of that
name. Such an occurrence was prohibited (Lys. 742).

1082. dackoticas od {fv rd ffv. In his Polyidus and
Phrixus respectively Eur. had such sentences as tis 0’ oidev ei
TO hv pév éore xarOaveiv, | rd xarOaveiv bé¢ Shy Kdtw voulfera ;
(quoted by Plat. Gorg. 492%) and ris & oldev el Shy rove’ 6
KéxAnrat Oaveiv, | 7d fAv Sé OvioKew éori; “We do not know
what female characters may have used these or the like ex-
pressions. A humorous recoil is made on the author infr. 1477.

1084. iroypappargov. The word is elsewhere also used
with contempt (Dem. 415, Lys. 186). The schol. is probably
right. in his comment rév ypaypareve Bovdouévov Kal pH

222 THE FROGS OF ARISTOPHANES 1084—1094

orpareveoOa, Certain civil servants naturally escaped military
service. While a ypaumare’s of the higher sort was an officer
elected by lot or by yerporovia for a certain period, the do-
ypaymarevs was either a slave or a citizen of inferior standing,
who served as paid under-clerk, doing the actual amanuensis
work. They, of course, acquired a special expert ability which
made them in demand, and, though they could not serve in
the same clerkship twice, they could probably find similar
employment continuously. Demosthenes (de Cor. 314) taunts
Aeschines with having been a ypaymareds (i.e. a Uroypaypareds)
of this kind.

The influence of Eur. is alleged to have diverted men from
manly pursuits to take refuge in occupations requiring a poor
sort of smartness. |

aveperron: the troypaumarns are regarded as a sort of
plague or disease. Cf. dvdmdews, dvariumdnut, dvdueoros.

1085. SypomiOqKwv: see 707n., and, for the compound,
Snuoxddrak, diovvoroxddrAak, Snuepacryjs. They ‘play monkey to
the people.’ Perhaps also there is a play upon mel@ew rodv
O7jmov.

1087. Aapardda: 131 n.

1089-1097. Part of the humour of this passage would lie in
the fact of Dionysus singing in the metre and tune of Aeschylus,
while dropping into a trivial anecdote.

1089; éradnuavOnv . . yeAOv: ie. ‘I laughed at it till I
cried all the moisture out of me.’ Cf. Xen. Symp. 3. 24

duP@mev Eri col yedOrres.

1092. AevKds tiwv: cf. Sosicr. (Com. Frag. iv. 591) XevKds
d&vOpwiros maxvs, Hor. Sat. 2, 2. 21 pinguis vitiis albusque.

1093. Seva movdv, ‘making a terrible exhibition of himself,’
while dea rovovuevos would express the state of mind (‘terribly
put out’). As stated by Dobree dewa rovetv=twmultuart, 6.
moet Oat = indignarr.

ot Kepayjjs: the people of Cerameicus. For the topography
ef, 129 n. |

1094. év taiow mvAais: the Almrudov or. Kepapecxal widar
(also called Opidorac), It appears from the schol. that the
young men of Cerameicus stood at the gate and slapped the
hindmost runners with the flat of their hands. Hence came
a proverb Kepauecxal rAnyal. From the same source we learn
that in the first edition of the Plutus there occurred the words
Tow AauTadnpdpwv Te rEtoTov airiay Tols UoTdTas mAaTELOY, ;

1096—I114 NOTES 223

1096. taiow mAarefais: sc. xepoi. Cf. modai (sc. Tpixes)
and 191n. The article signifies ‘the usual’ proceeding.

1097. dvoay: to keep it alight. ehevye: not =érpexer,
but ‘ran away’ from his tormentors.

1099. mpaypa=causa (cf. 759).

1101 sqq. Stay 6 pev . .: sc. Aeschylus. The terms which
follow are military: telvy (‘press hard’), éravacrpépew (‘wheel
to the counter charge’), émepelSerOar topds (‘attack smartly,’
Eq. 244), é€v rairo xa8fjoG8ar (‘remain inactive’ or ‘entrenched,’
Thue. 5. 7), elo Boral (‘ ways of finding an opening.’ Cf. 956).

Topas: cf. Plat. Theaet. 175 £ Topas re kal d&éws diaxovety.
1106. émurov, ‘make your attacks’ (&podos).

ava Sé Séperov. See crit. n. For the tmesis cf. 1047.
The common emendation is dva 8 épecOov (from dvepécOar,
‘cross-question’), but this is flat and does not account for the
corruption. If ava . . Séperov is correct, there is a colloquial
metaphor, ‘take the skin off your (devices) new and old’=
‘furbish up’ your skill. There is, of course, a zeugma, since
dvadépew strictly suits only 7a madod, while with 7a xawd we
must supply e.g. mpopéperor.

1110. as... ph} yvavar. Aristophanes would not use ds
for ore in ordinary dialogue. It occurs once in Thucydides,
seldom in Plato, but is common in Xenophon, as in poetry.
See Goodwin, M. and T. §§ 608 sq. In reality Aristophanes is
perhaps a little doubtful as to the appreciation by the audience
of the coming discussion. He hopes it will live up to this
compliment. Cf. Hg. 233 76 yap Oéarpov degcdv. Ta AeTTTG,
‘your subtleties.’

Aeydvrow: gen. absol., ‘when you say them.’ This and
similar passages, e.g. Nuwb. 810 od & dyvdpds éxremdAnypévov . .
yous admohdWes, should not be quoted as examples of a gen.
after a verb of knowing.

1112. odk &€” ottw tatr’ gxe. It is commonly supposed
that there is an allusion to the failure of the Clouds in 423 B.c.
But this was surely too long ago, and the words are sufficiently
explained in what follows.

1113. éotparevpévor yap eior, ‘they have seen service’ (and
therefore can judge of tactics). [The expression was perhaps
also proverbial of one who has seen the world and learned
‘what’s what,’ in the same way as the dvip moA\a tep-
mem)eukws of 535 n.]

1114. BiBAlov +’ éxwv. Perhaps we may guess that some

224 THE FROGS OF ARISTOPHANES 1115—1124

small book of military exercises and tactics had recently been
issued (a sort of soldier’s guide) and that Aristoph. has been
leading up to an allusion thereto. [The idea that at a second
performance of the Frogs the piece was already (with marginal
references) in the hands of the audience, and that the present
passage belongs to the second edition, seems highly im-
probable. ] ,

1115. at mioes, ‘their natural abilities’; cf. 700.

&ddws, ‘in any case’; cf. Aesch. Cho. 676 éwelrep dddXws, &
éév’, els “Apyos xiews.

1119. ér’ avtods toils mpoddyous cov, ‘your very pro-
logues,’ i.e. to begin at the very beginning. In the later
technical phraseology the mpéddoyos is defined (Arist. Poet. 12)
as pépos bdov Tpaywdlas 7d mpd xopod mapddov, but the word
is here used in the very natural sense of the ‘speech setting
forth the circumstances’ (7 ¢pdois Tov mpayydrwy 1122).

This line is addressed to Aeschylus; at the next line Eur.
turns to Dionysus and explains his procedure. Hence avrod
in place of cov.

1120 sq. 8mrws . . Bacavd. It is an idiom almost peculiar
to Aristophanes (in Attic) to use érws with fut. indic. in a
purely final clause, when no verb of striving, precaution, or
command has preceded or been implied. It is, of course,
possible to supply mentally after tpéopar such a participle
as okoT@y, orovddfwy,* or mpdrrwy, but this is to strain the
rule. Cf. Vesp. 529 det re Néyew Kady, Srrws pavyjcer K.T.r.:
Pac. 431 trexe rhv giddy, Srrws | Epyw *piadoduev : Eccl. 783,

etc. There are a few instances in the tragedians of the neg.
Brws uh similarly used (Kiihner-Gerth ii. p. 384. 4).

avrod depends on tis tpaywdlas.

1124. tov @ ’Opeorelas, ‘the prologue from the Orestea.’
For the omission of the article cf. 1026 n. The lines actually
quoted are some of those lost in our mss. from the beginning
of the Choephori (see appendix to the present editor’s edition of
that play). There is no doubt whatever as to their proper

lace.

. Strictly "Opéoreva (sc. Sudacxadla or molnos, cf. Avxovpyeia,
Oidurddeca) was the name given to the set of plays dealing
with the Orestean story, viz. the trilogy of the Agamemnon,
Choephori, and Eumenides. But since Orestes only becomes
the principal character in the two latter, and makes no appear-
ance in the first, it was natural that the Orestea proper should
be regarded as beginning with the Choephort. Hence Kur,
means ‘the prologue from your story of Orestes,’

1126-1134 NOTES 225

1126. ‘Eppf xOdve x.7.A., lit. ‘Thou Nether Hermes, in
stewarding powers (or commands) that are thy sire’s, be my
preserver and my ally, at my prayer. For I am come to this
land and am seeking my return (from exile).’

At the opening of the Choephori Orestes, who has come into
Argos secretly from his (virtual) exile, is standing upon the
mound which serves as the tomb of his father Agamemnon.
Upon or beside the rvuBos (or xGua) stands an emblem of
Hermes. As wWuxorourds, and intermediary between the two
worlds (xfpvE trav dvw te kal xdtw Cho. 123) Hermes is
naturally addressed by Orestes in his Chthonian or underworld
capacity. As agent of Zeds Zwrip he is implored to aid
Orestes by using in his favour the powers of that Zwrnp.

The words are, doubtless, open to certain other interpreta-
tions, mostly captious, and it is on this score that Eur. charges
Aeschylus with dodg@ea. Thus kpérn might also mean ‘deeds
of strength’ (cf. 1141-43), émrorretwv might also mean
‘witnessing,’ watp@a might refer either to (a) Zeus or (0)
Agamemnon, and, in reference to the latter the adj. in warpoa
Kparyn might represent either the subjective or the objective
gen. (power exerted ‘by’ or over’). But the whole discussion
is intended to lead up to certain jests, and the criticisms are
strained for that purpose.

[It is common to punctuate “Hppf x@dvie, rarpa’ érorretwv
Kparn, | cwrhp «.t.A., making the participle vocative. It
seems more pointed and compact to join it with the predicate,
as in the rendering. ]

1130. dAN oS wdvra y’ éorl tadr’ GAN 7 tpla, ‘but the
whole number of them is only three.’ The line (like ‘the first
part of 1129) should be given (as by Bergk) to Aeschylus, as
1132 appears strongly to show. The exact reading is uncertain
(see crit. n.). There has obviously been some displacement,
and the arrangement in the text is here given on the ground
that ratra bears no stress, while ot8€ mavra y gives precisely
the emphasis required. For dX’ # cf. 227 n.

1133. mpds tpiciv tapBeloirt «.7.A., lit. ‘you will not
only owe three iambic lines, but will be in debt besides.’ If
each line contains twenty faults, the lines have more faults
than words. If each fault is to be regarded as something to
be paid off (cf. 7d BAdBos 1151 n.), then Aeschylus must pay
away every word in the lines and still owe for faults. His
assets become a minus quantity, and he is left with liabilities.

[tpocodefkwv must not be confused, as it is by some
editors, with rpocop)uv. ]

1134, éyd owwrd rod ; ‘am [f to be silent to please Aim ?’

Q

226 THE FROGS OF ARISTOPHANES 1136-1144

(or ‘at his bidding’); cf. 1229, Lys. 580, Livy 3. 41 negant se
privato reticere.

1136 sq. dpas Stu Anpets; «.7.A. Aeschylus retorts ‘ Don’t
you know you are talking rubbish ?— However, little I care !—
How do you mean, ete.’ It is hard to see any objection to
this arrangement, whereas the distribution of the words be-
tween various speakers, with éXlyov yé wou wéXer given to either
Kur, or Dionysus, results in inanity. [‘lhe emphasis is, of
course, on 6Atyov péAe, not on por. |

1138. ‘Epp xOdve x.t.A. It is an error to place a stop
after these words. The sense is not completed. Euripides is
waiting to pounce upon details, and he descends on the first
possible ambiguity.

1138 sqq. Euripides chooses (1140-1143) to make tarpaa,
in Orestes’ mouth, mean ‘my father’s’ (Agamemnon’s), and
Kkpatyn = ‘deeds of strength,’ whereupon his criticism amounts
to this: ‘ Doesn’t Orestes say this at the tomb of his father,
the father being dead?’ (The Greek is not rod rarpds Tob
reOvedros.) Aeschylus replies ‘I’m not denying it.’ ‘Then,’
asks Eur., ‘was it how his own father perished violently ‘ By
stealthy guile een ata woman's hand’—I ask, was that what
he said Hermes stewarded?’: i.e. Eur. urges that, since Orestes
is speaking at his own father’s tomb, matrp@a should naturally
refer to that father, and the rarp@a xpdry are ‘deeds of strength
done won his father’ (by Clytaemnestra).

1142. adtod: tpsius, in the emphatic place. This line and
the next are tragic in metre and diction (as in é« for td), and
at least éx yuvaixeias yepds dédrAois AaPpalos has the appearance
of a verbatim quotation, probably from Aeschylus himself
(and possibly from the lost lines of the Choephort). We must
suppose the words to be mouthed tauntingly.

1143. 8ddo1s AaOpalors. Hermes, being the god of stealth
(d6Xc0s), might naturally be supposed to steward this action of
the murderess. |

1144 sq. od Sir’ éxetvos, ‘not he, indeed,’ ie. Orestes
meant nothing of the kind; cf. 788 n. TOV EpLovVLoY :
i.e. not Tov déddvov, but ‘the luck-bringer.’ The word is prob-
ably derived from épi-Foo-v-co-s (‘bringing much profit’; ef.
@vos=Fwo-vos) and in that case is akin in sense to éuroXatos,
xepd@os ‘Epufs. [If late grammarians sometimes explain by
KaTaxOdvios, vroxdvios, such a notion could only arise: after
the etymology had been lost and the meaning merely guessed
at in connexion with ‘Epujs xAdvios or mwouratos. It simply

T146—1155 NOTES 227

shows that épio’vios came somehow to be specially applied to
Hermes in his Chthonian character. |

Render, ‘but it was the Luck-bringing Hermes Chthonius
whom he addressed, and he went on to show it, by saying that
he possessed the function as a prerogative from his sire,’ i.e.
‘in addressing Hermes Chthonius as holding a function from
his sire (the Olympian Zeus) he is necessarily appealing to him
in his benign character of épcovvios, for that is the only trait
in which the Chthonian Hermes can be said to represent his
father.’ [It is much inferior to construe ‘he called the
Eriounian Hermes ‘‘ Chthonius.” ’]

1146. oti) watpe@ov K.T.A.: not TovTo Td yépas, but tatp@ov
yépas is predicate.

1148 sq. et yap mwatp@ov «.T.A., ‘for if he possesses his
underground function from his father —.’ Euripides was about
to add ‘then his father must be Chthonian, and you are making
Hermes the son of Ze’s xaraxy@drvios or Pluto.’ But Dionysus
breaks in with a specimen of his own literary and logical
acumen, ‘then he must be a grave-robber on his father’s side,’
i.e. ‘if Hermes. got from his father his business of going under-
ground on errands of gain (éprovmos), then his father must have
been a grave-robber.’

1149. tupBwptxos: here =o rods tiuBous diopirrwrv; ef.
Ttoxwpvxos. ‘The usual meaning is ‘grave-digger’ (67. 7. ép0TTwv);
but ep. Sext. Emp. adv. Math. 7. 45 rupBwpixos Néyerau kal 6
éml Tos vexpovs ToUTO mpaTrwy (sc. digging).

1150. ives otvov ovk avOooplav. Aeschylus turns upon
Dionysus and tells him in one phrase that his judgment is that
of a drunkard and his breath unpleasant, for which reason he
had better not give the company too much of it. dvOoopias
was wine with a bouquet (edwdns); cf. Xen. Hell. 6. 2. 6
épacay To’s orpariworas eis TodTo Tpupis eAOety war’ ovK eOédeLY
tive, ef ph avOooulas etn, Verg. G. 4. 279 odorato Baccho.
See Athen. 324. :

1151. éy erepov: sc. eros. to BAdBos: not ‘the
fault’ (which is too weak for the word), but figuratively, ‘ the
damages’ to be paid ; cf. 1133.

1154. 6 gods. Like doctus, codds was a stock epithet of
poets, who were supposed to possess, not only literary skill and
taste, but knowledge of all sorts and wisdom fit for yrduar ;
ef. 1413, Nwb. 520, Dem. 419 rw comm Zodoxde?. Here the
question is of literary culture. |

1155. TO pip’, ‘the expression’; cf. 821 n.

228 THE FROGS OF ARISTOPHANES 1155—1165

éy® 8€ cor dpdow: i.e. Aeschylus need not repeat it, ‘Z
will quote it’ (and of course he does so with sarcastic emphasis).
[Not ‘I will explain,’ which misses the force of éyw. ]

a? iG

1157. “Hew” 8 rabrdv éoti To “Karépxopat,” ‘is the same
as your xarépyoun,’ ‘To this Aesch. makes the obvious reply.
The distinction is quite familiar, Why then does Eur. cavil
at the words? Simply in order to lead the comedian up to the
retort (1167 q.v.). The completed action in fe is also to be
distinguished from the incomplete in karépxoua. Orestes has
arrived, but is only ‘trying to get back (i.e. restored) from
exile.” Even had there been an accumulation of practically
synonymous words Eur. should not be the man to object; cf.
his own émiordpecOa Kal yryvwoxouev (I. T. 490, Hipp. 380).

1159. xpfioov od pdxtpay . . Kdpdorov. The two words
being synonymous, we must understand this to be a current
form of Attic cheap witticism (as if one said ‘Lend me a
sovereign, or, if you prefer it, a pound will doas well’); ef.
Pherecr. Iler. 7 wrpécatpe 7d Kavody, ef 6é Bove, rpdagepe.

1160. kareorwpvApéve: addressed to Euripides. The word
is the passive of karacrwuidd\w rather than the middle and=
‘bemused with small talk.’ For this use of cara- cf. 361 n.

1161. tadr’=7d aird. Lit. ‘that (which you are talking
about) is not a case of the same thing (over again)’=roiro
héyewv ovK éorl Néyew 7d atrd. Cf. 1173 sq.

GAN’ diptor’ érdv Zxov: either (1) ‘but the most excellent
of verses,’ i.e. €xov dpiora érGv (rdvTwv)=dpicrov bv éerwy, after
the pattern of e.g. dO\wrara dvOpirwy éxw=aOMWTards elute
avOpémrwyv ; or (2) ‘excellent in respect of phrasing’; cf. ed
gpevav éxewv. The latter narrows ér@v to the sense which is
non-comic. See 1181n. For ter’ . . tyov; cf. Pac. 334 gor’
dvaryKalws éyov, Plut. 371 éorlv . . érépws éxov, and so frequently.

1163. éXOctv pév «.7.X., ‘(simply) to come into a country is
possible for the man who has a share in a fatherland.’ The
language and metre are tragic in the mouth of the tragedian ;
hence the use of 8tm pery for drm dv werH and the poetical
matpas for rarploos.

1164. xwpls . . &AAns ovpdopas, ‘ without any misfortune.’
suugopd (cf. calamitas) is frequent for loss of status (aria,
exile, etc.). The idiom of the redundant d))os is well known.
In its origin it= ‘else,’ ‘over and above’ the matter in hand,
‘otherwise to be considered.’ Cf. Eur. Med. 298 xwpis yap
aidrys Hs éxovow apylas | POdvov rpds dor&v adpavover Sucpery.

1165. hevywv . . Karépxerat x.7.A.: cf. Aesch. Hum. 465

1166—1172 NOTES 229

Kayo KaTeNOwv Tov mpd Tov pevywv xpdvov, and the words xd@odos,
KaTayew, KaTadéxecOat.

1166. vj Tov “AmddAdw: the god of letters, as 1169 vi Tov
“Eppfv, the god of interpretation. See Introd. p. liv.

1167 sq. od pynpi k.t.A. To treat this as a genuine critical
objection is to misconceive the manner of comedy. ‘There is
beyond doubt a political allusion to some contemporary, who
has ‘come back’ to Athens without formal allowance by ‘the
authorities.’ This was not precisely what had happened in
the case of Alcibiades, who in 407 B.c. had been elected
otparnyos though considered an exile (Xen. Heli. 4. 8). He
had come back with considerable apprehension (ibid. § 18), but
not Ad@pg. Nevertheless there may be an allusion to this
unconstitutional proceeding. When Dionysus joins in (1169)
with ‘Capital, i faith; but I don’t understand what you
mean,’ it is to be understood that he understands perfectly.
At the some time the answer is intended to satirise popular
applause, ‘Excellent! not that I presume to understand it.’

1168. ov mibay tovs Kuplovs: an old legal formula, otherwise

- gretoas is the current Attic aorist.

1170. wépawe: a word frequently used of saying out one’s
say, whether in narrating or quoting; cf. Plut. 648 wépawe
towuv & Te éyets dvicas toré, Aesch. Pers. 700 wy Te paxioripa
LOOov GAG oUvTOMOY A€ywr | elré Kal mépawe mavra, S.c. TJ’. 1042.

1172. topBov 8 én’ dxOw x.7.4. We cannot be sure that
these are the very next words in the Choephort. Euripides
only quotes such lines as suit his (i.e. the comedian’s) purpose.
Orestes stands on the tomb, as a «fpvé regularly stands on a
Bjua or on rising ground (cf. Verg. Aen. 5. 44 tumulique ex
aggere futur). The full meaning is ‘upon this for my mound,
the mound of a tomb, I proclaim—’t is to my father—to hearken
and give ear.’ The synonyms form no mere tautology, but
add solemnity or insistence ; cf. Thesm. 381 ciya owdsra, Kur.
Tro. 1303 kdvere wdbere. But the difference in tense should
also be noted, and dkotoat (cf. traxovew) suggests the notion
of responding. From e.g. Aesch. P. V. 464 xXvovres ovK Fxovor,
Kur. Phoen. 919 otk &xdvov odk Fxovoa it might perhaps seem
that when the words are juxtaposed xdvew refers to the ear
and dxovew to the mind. But our own ‘hearing, they heard
not’ will show that the distinction is rather drawn from the
tone and the oxymoron than from the actual words. This is
borne out by e.g. Sappho, fr. 1. 5 ef mora xarépwra | ras guas
avdws dloroa mpdu | ExdXves, Aesch. Ag. 685 rocair’ dxovouas
ig@t TaANOH KAVY?.

230 THE FROGS OF ARISTOPHANES 1175—1182

1175 sq. teOvyxdow. Dionysus again represents the naive
popular understanding of a literary point, and is highly
aS with his own perverse perspicacity. ois follows
€yovres, since é€tkvotpeOa in this sense would require the
genitive. For the notion (of addressing the dead é rpirots
tpoopbéyuaciw or the conclamatio) cf. Hom. Od. 9. 65 mpiv
Twa Tov Sedkdv érdpwv Tpis Exacrov ditoa, Verg. Aen. 6. 506
magna Manes ter voce vocavi.

1179. tw rod Adyov, ‘irrelevant’; cf. Arist. Poet. 14 ra ew
TOU Opduaros.

1180. od yap . . GAN’: 58 n.

1181. tév cdv wpoddyey k.T.X., lit. ‘the verse-correctness
of your prologues.’ Such double genitives, one defining or
descriptive and one possessive, are frequent; cf. Aesch. Cho.
182 kapdias kr\vdwviov | yoARs, Soph. E7. 681 ‘ENAddos apdoxnp’
ayavos. [An accumulation of genitives occurs in Thuc. 4. 10
poBw vedv Sewdrnros kardm)ov. |

THs SpOdrnTos Tv érGv. There may be a direct allusion
to the dp0oérea cultivated*by Protagoras and referred to in
Plat. Phaedr. 2670. The exact use of the term in connexion
with that sophist is disputed (see Thompson, ad Joc.), but

Dionys. Hal. (Dem. p. 1035) calls Plato himself xavaw dp@o-

ereias in respect of his ‘ pure style,’ and the word naturally
suggests the sense ‘correct expression.’ Here also, of course,
it is ‘correct expression’ which Aesch. is testing, but (so far
as exact rendering of the Greek word goes) éry cannot in
comedy simply mean ‘expressions.’ The sing. éos in occasional
phrases retains its old sense (e.g. in ws €mos elmety, ovdev mpos
érros, etc.), and a compound like ép0oérea, everis, is legitimate
as=7d dpOds eimeiv, cd eirety Suvduevos. But in current Attic
émn=‘verses,’ though here, it is true, they are looked at
primarily from the standpoint of their language, as in Nw.
638 mérepa mepl wérpwv 7) puduadv i) wept érav; The best com-
ment is the passage in Plat. Prot. 338 ‘yodua . . avdpl
maoelas wéyiorov mépos elvar mepl érav devdv eivar: arte Oe TOUTO
Ta Urd TOV Tointev eyoueva oldv Tr’ eivar Evviéevac & TE dpOGs
wemolnrat kal & uh. Protagoras’ contemporary Prodicus of Ceos
also devoted himself particularly to correctness of diction and
expression.

1182. qv Ol8lrovs «.7.A. The beginning of Euripides’
(lost) Antigone. In 7d mp@rov and edSalpov is meant the ‘ first
prosperity’ as Theban king before the dreadful revelation.
Aesch. presses the words in a rigidly literal sense, ‘at the first,’
and ‘ with a good genius.’

1184—I192 NOTES 231

1184 sq. SvTwa ye. ., ‘seeing that he. .’

ply diva... mplv Kal yeyovévar: a deliberate and effective
repetition ; ‘ before he was born . . before (I say) he so much
as existed.’ Aesch. appears to be glancing at Euripides’ own
words in Phoen. 1595 & wotp, dm’ apxis as mw Epvoas Oop |
. . . | dv Kal mplv és Pas unrpds Ex yov7s modely | &yovov ’Amd\\wy
Aaty w ebéamice | povéa yervécOar rarpds.

pivar pév . . There is no sudden interruption by Eur. to
explain the absence of the dé-clause. Aesch. finishes his
criticism (1186). But, except for such interruptions, péy
solitarium is restricted to pronouns and a few recognised
phrases, e.g. ofuac weév or ov Trwol wév dxovoa (Kiihner-Gerth ii. p.
272). Blaydes therefore is probably right in suggesting piv
amepuxev’ (for the elision see Introd. p. xli). If pivac perv is,
after all, correct, we must suppose that Aesch. interrupts his
own thought (which he resumes at 1189 sqq.) with the insistent
mpl Kal yeyovevat; i.e. he was about to say e.g. mplv divar peév
eita dé éfeTéOn ev dorpdxw x.7T.r., but the temptation to
repeat the notion of piv diva has diverted him from his
course. :

1188. od Sf7’: sc. éeyévero dOAWWTaros. ‘No, he did not
become most miserable; rather say he didn’t stop (being
most miserable),’ .

1189. Sre S57: causal (=quandoquidem). Cf. Ey. 1112,
Dem. 1. 1 dre roivuy rat’ otrws éxet, mpoonKker mpodtiuws €0édewv
aKovely.

mparov: with yevdpevov (=evOds yevouevov). [Not mparov
uev ‘in the first place,’ which leaves yevduevov extremely flat. ].

1190. <é0erav év d0Tpdkw: the exposed child was commonly
placed in an earthenware xv’rpa, for which écrpaxov is here a
contemptuous substitution. In Hdt. 1. 113 we have simply
dyyos. Aesch. (fr. 122) used xurpigev in his Laius. Cf. Vesp.
289 éyxurpre’s and commentators there.

1192. tppyoev, ‘went with a mischief upon him.’ The
mischief in éppew may be either one which we inflict on others
(e.g. Hg. 4 €& ob yap elonppnoev eis Thy oiklay | rrAnyds del
mpoorpiBerat Tots oikéras) or one which we are ourselves doomed
to incur. But to the Greek mind the latter involves the
former, and the unlucky man is requested dio-@0eipecOar and
not to ‘wipe off’ (€Eoudpyrvve0a) his ill-luck on his neighbour.
Cf. p@eiperOa, ExpOeiperOai mo or mpds Twa. Av. 916 Kara Ti
dep’ avepOdpys ; Kur. Andr. 708 ef wh POepy trios’ ws Taxco’
amd oréyns.

232 THE FROGS OF ARISTOPHANES 1192—1202

oisav ta méde. The story attempted to etymologise his
name (‘Swell-foot’), Cf. Eur. Phoen. 28 oupdv odnpa xévrpa
diatrelpas pécov, | d0ev vw ‘EANas wyduafer Oldirouvv. It should
be remembered that zrov’s can be used of the whole leg, just as
xelp can be used of the whole arm. [The oracle went that
Laius, king of Thebes, should be slain by his son, if he had
one. Oedipus was born, and, to prevent the fulfilment, he
was exposed upon Mt. Cithaeron, with his ankles riveted
together. But he was taken up by a herdsman, carried to .
Corinth, and brought up by King Polybus. Having journeyed
to Delphi to inquire as to his parentage, he accidentally met
Laius, whom he slew in a quarrel. Proceeding to Thebes he
solved the riddle of the Sphinx, married the wife of Laius (his
own mother), and became a ‘prosperous’ king. When the
truth was discovered he blinded himself. ]

1195 sq. evdaluev dp qv «.7.A., lit. ‘(if he was evdaluwvr
in that case) then he was evdaluwv (also) if he was one of the
colleagues of Erasinides.’ There is no equivalence here of qv
with jv dv. The particle ye throws stress on the unhappy
notion of 7d orparnyetv wer’ "Ep. The allusion is once more to
Arginusae. Erasinides was the first of the orparnyot to be
attacked (by Archidemus, sup. 418). Six of the ten were put
to death (Xen. Hell. 1. 7).

1197. Anpets: addressed to Aeschylus. Cf. 1136.

-Tovs MmpoAdyous KaAdovs tou, ‘I compose my prologues in
good style.’
1198. kat’ éros, ‘ verse by verse.’ Kviow, ‘nag at.’

1199. ovbv Totcw Geois : either this or civ Oeots (the old, and
therefore anarthrous, phrase) may be used, but the fuller and
more solemn expression is juxtaposed for humorous purposes to
the following trivial notion of a AnKi@ov. In the sing. the art.
is regularly omitted when no special deity is meant ; yet Soph.
Aj. 383 olv T@ Dew (Jebb, n.).

1200 sq. Grd AnkxvOlov . . Siadhbepa, ‘I will ruin your
prologues with (nothing but) one little oil-flask (to work with).’
For amé of the stock-in-trade cf. 121 amd Kkdd\w Kal Opaviov,
Thue. 2. 77 drd rév rapivtwy Sewav édety rhv word, 7. 67.

Kiihner-Gerth i. p. 458.

1202 sqq. ‘rotets yap otrws x.7.A. The full humour of the
following dialogue is lost to us through our ignorance of
contemptuous colloquialisms, and also, we may believe, of
certain pastimes. Editors have been for the most part content
to state: (1) that there is an attack upon the sameness of
manner, both in metre and syntactical structure, with which

1202 NOTES 233

Eur. opens his prologues. This uniformity was such that at a
certain point of an early line both grammar and metre might
be completed by the addition of: such words as Aynxv@cov
dméeoev : (2) that Aristoph. intends to ridicule Eur. by the
very triviality of the words used, as if such words were not out
of keeping with the style of the poet (cf. 959). There is,
however, nothing trivial in the real sentences of Eur.
subsequently quoted, and the comedian can hardly mean that
Ankv@.ov dmrwrecev Would be an ending suitable to the style of
the beginning. We may, therefore, leave this second suggestion
out of the account. Undoubtedly the words chosen are meant
to form a farcical conclusion to a sentence, but Aristoph. is only
showing how easy it is to ‘fill in’ always with the same absurd
formula.

Then why does he choose this particular class of diminutive ?
In the first place, it is to be feared, because the words AnktOrov,
K@Sdproy, GuvAdKLov possessed a vulgar application, with which
he is playing to the gallery, in order to relieve what might
have been a tedious piece of criticism for a great part of the
audience (see 1109 sqq.). In the second place one may guess
with some confidence that the Athenians had a forfeit-game, in
which it was ‘one to me’ if I could fit on (wpoodtrew) a
certain tag to something being said. In such a case the
winner cried ‘forfeit!’ in some such expression as ‘(you have)
lost this or that’ (whatever might be at stake). If, on the
other hand, the tag could not be affixed, the payment was the
other way. If Eur. could get through one prologue without in-
curring the AyKiéov he would ‘get it back.’ With such an
assumption we are at least in a position to give:,a rational
meaning to mpoodwar (1216, 1231, 1234), atromplw ‘ buy back’
(1227), ammdS0s ‘give back’ (1235). Meanwhile some of the
remarks of Dionysus refer to other, and occasionally unedifying,
uses of AnxvGiov. Natural articles to stake or forfeit would be
the Ankvov ‘little oil-flask,’ @vAdKiov ‘little bag’ (wallet or
purse, Vesp. 314), xwddpov ‘little rug’; but particularly the
Ankv@cov, which was carried for a variety of purposes. ~A AjKkvos
was a small narrow-necked vessel in which were carried oil
for the bath or for gymnastic exercises, perfumes, and sometimes
wine. They were commonly of earthenware and of little value
(cf. 1236). Aeschylus is prepared to start with a stock of only
a single Ankv@ov (€vds pdvov 1201) and win. [It is apparently
from this passage that the later grammarians gave the name
AnxvGcov or pérpov Hvpiridecov to the part of a verse correspond-
ing in xpéva to — US“ U-V —.]

1202. toveis yap «.t.A., lit. ‘for you compose in such a
way that there fits into your iambic verses anything—either

234 THE FROGS OF ARISTOPHANES 1203—1214

kwdapiov or AnktOcov 0; OvAdkKvov.’ The sense of &rav is defined
or limited by what follows, and kal. . kal. .=‘ whether it
be . . or. .’ [It must le admitted that there is some
awkwarduess in this, and it is possible that for the first kat we
should read kara \2 frequent corruption ; cf. 1393), ‘anything
after the style of xwddpiov, ete.’ Of. Hdt. 1.98 ddXox roramol ob
kata Tov Netdov édvres peydbean, Plat. Apol. 17. 13 ouodoyotnv
av ov kata TovTous eivat pATwp. |

1203. 8vAdk.ov: for the rare tribrach in sixth foot see
Introd. p. xxxviii.

1206. Atyutros x.t.A. : from his Archelaus.

trmaptat Adyos: cf. Xen. Cyr. 5. 2. 30 6 Adyos obros odds
Hn Ecmapra, Theodect. fr. 16 wodvomepel . . pyun.

1208. "Apyos karacyxov, ‘having put in to Argos,’ poetical
accus. of destination ; cf. Eur. Hel. 1206 wéd0ev xaréoxe yh ;
Soph. Phil. 270 xkaréoxov deipo vavBaryn orddy.

1209. rovti ri fv «.7.A.: cf. 1296, and, for jv, 39 n.
[There is no is niet through punctuating Toutl rl qv;
To AynKVOLov od KAatoeTaL 5]

ov KAatoerat; a form of threat or imprecation; cf. 178
ovx oluwéerac; Dionysus humorously identifies himself with
the cause of Kur. here and in 1214, 1220, 1228.

1210. tva Kal yva, ‘so that I may get an idea.’ The
function of kal is to throw a tone upon the verb, and the
whole is practically equivalent to our ‘let me see.’ mwadw is
best joined with Aé€y’ érepov mpdodoyov. [Others read -yvq,

‘so that he may be taught a lesson.’]

1211 sqq. Avdvucos x.t.A.: from the Hypsipyle. The words
completing the third line, but not the sense, were map@évas
av AeXdiorv (schol. ).

Qipoower: wands tipped with a pine- -cone and wreathed in
ivy. The word is joined to ka®amrds (‘decked in’) by a slight
zeugma, the whole @vpros Kal veBpav dopats being regarded as
the dress or oxevy (ef. [EKur. ] Rhes. 202 oKxevn mperovTws cap’
éudv KabdwWoun). For this cxevy of the Bacchanals ef. Eur.
Bacch. 176 Ovpoous avarrew kai veBp&v dopas exe.

1212. év wevkyor, ‘amid pine-torches’; cf. Nwb. 603, Eur.
Bacch. 306 (also of Parnassus). For the form in -yotsee crit. note.

wyda xopevwv: Eur. Bacch. 307 wydavra ovv revxacot,
fon 1125.

1214. olor wemA Hyped’ adOus: apparently an echo of tragedy ;

-’ '. =

I215—1221 NOTES 235

ef. Aesch. Ag. 1844 @mou par’ abOis devrépay wemdnyuévos. In
that case trd THs AynKidov is probably a mapa mpoodoxiay for
some tragic expression (e.g. ris Evupopds): ‘Ah me! again
they smite us with—the flask.’ It is in the comic vein for
Dionysus to bewail his own loss of a AyxvGov as described in
what happened to Acdvugos x.r.d. Here, if anywhere, he must
make common cause with his poet.

1215. ov8tv torat mpdypa, ‘it won’t matter’ (we shall make
up for it yet); cf. mpdyuara éxew, wapéxew and Eur, Med. 451
Kamol ev ovdev Tpayua.

1216. mpocdpar, ‘tack on.’ See introductory note to 1202
sqq.

1217 sqq. ov« éorw x.t.A.: from the Stheneboea (schol. ).
The third line was completed with mAovolay dpot maka.

1218. mehuxas éoOdds: if this means ‘of good birth,’ in
the aristocratic sense of é¢O@dés, bonws, we have a violation of
the rule that yéyova, répuxa éoOAGs is used of birth and rank
(ef. ‘well-born’), but yéyova, mépuxa éoOdds of character or
form. The rule is upheld by Cobet, V. Z. pp. 157 sqq., with
sreat cogency, although (as too often) he is compelled to defy
MSS. in at least one instance of yeyovévac (Lysias 19. 12). In
reality the rule, if good for yéyova, will not hold for wépuxa
with the adverb. Even,if Soph. £7. 989 rots kadk@s mrepuxdow,
Antiphon 115 ixav@s meduxéres, be considered ambiguous or
comprehensive, in Isoc. 190 ow ydp twes ducKdAws mepiKacwy
is decisive enough. It is hardly to be assumed therefore that,
on the other hand, the rule with the adj. was absolutely
inviolable. Nevertheless it is probable that in the present
instance the rule is observed, and that the proper rendering
is ‘of good type.’ It is hardly in the spirit of Euripides to_
prize social rank as against character, and (assuming that the
sentiment is his own) éc@\és to him would mean ‘good’ in the
moral sense (found in evyevyjs), while dvoyev7js also is moral.

Blov = ‘livelihood.’

1220. tdérbar por Soxet, ‘we had better lower sail’ (swub-
mittere, contrahere vela); cf. 999 n., Soph. #7. 335 viv & &
KaKots mor mrelv bpeuévyn Soxe?, Plut. Lucull. 3 wel’ nuépay pév
dpermevors tA€wv Tots icrios Kal TaTrevois, VUKTWP OE ETralpomevoats.
[The mss. reading 8Soxets could only mean ‘you seem to me to
have shortened sail.’]

1221. rd AnKkdO.ov «.7.A.: the comparison of the AnKi@ov
to a gale (which has prompted t¢écGar) must be induced by
some lost trick of phraseology or pun (e.g. upon some wind

#236 THE FROGS OF ARISTOPHANES 1223-1238

familiar to sailors). MVEVOETAL TOAV as in dvemos vel éyas,
tots, Kaumpds, etc. [The Mss. agree in avevoeirat, as they do
in m\evoeioOar in Thue. 8. 1. These ‘ Doric’ forms are, how-
ever, very doubtful in Attic of the best period. gevéoduar as
well as gdevéoua is warranted by the metre in Euripides and
Aristophanes, but the evidence for mvevoodmat, mrevooiua,
KAavoovmar, pevoetrar is very weak. See Rutherford, New Phryn.
xxiii. It can scarcely be an accident that the letter v occurs
in the root syllable of all the verbs affected. We can but
suppose that it exerted some assimilative influence. ]

1223. éxxexderat: the fut. perf. implies ‘ once for all.’

1225 sq. 2Sevidv mor «.7.A.: from the Phrixus. The
concluding words were ixer’ és O7Bns médov, or, in a second
version of the same play (as reported by Tzetzes circ. A.D.
1150), 7A\@e OnBalav xOdva | DotmE wepuxws. The ‘son of
Agenor’ is Cadmus.

1227. & Sausdve av8pav: to Euripides, in remonstrance
(cf. 175).

amompiw, ‘buy back the (forfeited) flask.’ See Introd.
note to 1202 sqq. and cf. 1235. Euripides has lost it to
Aeschylus. do- has the same sense as in dmod.ddval, drro-
AapBaverv.

1228. jyav: Dionysus more or less ironically identifies
himself (cf. 1209) with the cause of Euripides.

1229. éya mplwpar rod’ ; ‘What, J buy it from (=to please)
him?’ For the dat. cf. 1134, Pac. 1261 rovrw ra Sédpara tair’
avyicowat, Ach. 812 mécov mpiwuat co. Ta xoupliia; He will
not buy it, but will simply get it back, by defeating Aeschylus
with a prologue which he cannot fit with the AnKvGov.

1232. Il&o «.7.A.: from the Iphigenia in Tauris. The
completion was Oivoudou yapel xdpnv.

1235. @ya0’: to Aeschylus. @r kal viv: sc. though you
have won it and held it so long. dmddos, ‘give it back.’ The
slightly supported variant dmé8ov (‘sell it’), which originated

In conjecture, spoils the sense.

1236. Ane: AauBdvew is frequent in the sense of ‘get’=
‘buy’; cf. Theoc. 15. 20 wévre moxws af’ éx0és. As Blaydes
points out, the Latin emere also originally meant ‘take’ (cf.
eximo, demo).

1237. ote y’: sc. drodwoe Thy AjKvOov.

1238-41. Oivets mor’ «.7.d.: from the Meleager. The schol.
tells us that this was not the actual beginning of the play,

1243-1247 NOTES 237 «

but came ‘after a number of lines? commencing with Kadvdwy
pev Oe yata Iedorias xovds. But Fritzsche is probably right
in supposing that such an exordium was a later addition of
(perhaps) the younger Euripides. A late schol. quotes for the
ending of the second line ov« @Ovcev ’Apréuids, but this is, of
course, unmetrical, and can only represent the general sense.
[Many editors show some favour to a conjecture of Fritzsche,
ovx éricev (better érewcev) “Apreuuv ; but unhappily Attic cannot
use érecoa in the sense of ériuyoa.] It seems idle to guess at
the exact words.

1243. ta adrév: pronounced éa avrdv ; ef. Lys. 945 éa air’
and Introd. p. xlii. ‘Let him alone (he does not matter)’ is
the sense.

1244. Zets, as A€XexTar K.7T.A. : generally supposed to be
from the play called Medavirrn 7% copy (the other being
Medavirryn 7 Secuaris). There is a difficulty here, since,
according to Plutarch (Mor. 756c), the play originally began
with Zev’s, doris 6 Levs, od yap olda wiv Adyw, but in conse-
quence of the displeasure which met this rappynoia (Luc. Jup.
Trag. 41) it was altered to Zevs, ws NéNexTae Tis adnOelas Urro.
According to Gregory Cor. p. 1312 the second verse of the
latter began with “EAXyv’ érixrev. But to this the AyK’@ov
could not be attached. Gregory, indeed, tells us that the
same verse occurs in the Perithous; but in the fragment
preserved (N. 591) it stands as the fourth line, and where
the AnkvOov is equally impossible. We are forced to suppose
that the second line of the Melanippe contained not “EAXnv’
érixrev, but “EAAnva tixrwv. This Dionysus foresees, and it
ought further to be assumed that Aristoph. shrinks from
flatly finishing his usual sentence in the case of Zeus. Hence
the interruption of Dionysus.

THs GAnPelas tro: the form of expression personifies dA7Oeca.

1245. daodcis: mss. are divided between this and aroXc o”.
The latter=‘he will undo you,’ viz. with his Anx’@in The
former is either (1) ‘you will be the death of us’ or ‘weary
us to death,’ viz. by always trying and always failing; cf.
Vesp. 1201 ®IA. ras ydpaxas bpetdunv. | BAE. drrodels we.
totas xdpaxas; Eccl. 775 doXels dricrGv rdvra. In the same
sense the comedians use dmoxvaiew, dmomviye, émirplBev (cf.
enecare) ; or (2) ‘you will be the death of us (by making him
actually say this of Zeus).’ The former is more natural, is
supported by analogies, and is suitable to the winding up of
the subject.

1247. ta oka: warts or sores on the eyelids. Cf. ctKwars.

238 THE FROGS OF ARISTOPHANES 1247—1249

épv: gnomic (Kiihner-Gerth i. pp. 160 sq.). Though an
aor. épuy came to be used in tragedy as a simple present (=‘I
am’), it does not belong to the language of comic trimeters ;
still less could it be so used when there is no adjective.

1248. Ta wéAn, ‘his (lyrics and their) tunes.’ Cf. 1329 n.
It is not the language but the music which Kur. is about to
attack. All educated Athenians studied wovorxy in the narrower
sense, including non-professional performance on the lyre and
comprehension of the modes. The dramatist was his own
composer of tunes or melodies. The matter was much more
simple than in modern times, inasmuch as the Greek apyovia
included none of our ‘harmonies,’ but represented only the
‘fitting sequence’ of notes according to keys which could be
almost mathematically studied. In the following scene the
criticisms can hardly be fully apprehended without hearing
the tunes, but it is clear that Aeschylus is blamed for making
his melodies too monotonously dactylic and simple. Given
one line, or set of bars, you could (says Eur.) always follow on
with a certain sequence which fitted into the system as readily
as the Anxv@.ov into the iambics of Euripides. You could, for
instance, after a verse like 1265 sing on with ih Kérrov od
medabers er” apwydv (i.e. té-tum-té té-tiim-té té-tum-lé té-tim
tum), and that set of notes would do equally well in all sorts
of places in his lyrics. Or, when the songs were accompanied
by the harp, you could strum on, after each line, with ropAarro-
OparropAatrobpar (1286) (=twingle twangle twangle twang).

The criticism has been much misunderstood. It is not
meant that Aesch. uses a meaningless refrain, e.g. i) kémov K.7T.X.
There would be no truth in such a statement. The carping is
purely musical, as if we said that his tunes were all ‘common
metre.’ According to Euripides his great sentiments or
phrases are followed by absurdly simple and monotonous
banjo-notes. Meanwhile the objection made to Euripides by
Aeschylus, from the musical point of view, is that he picks
up all sorts of airs—from catches and dirges and (to give a
modern equivalent) music-halls—and mixes them incongruously,
adding plenty of ‘shakes.’ He has series of rapid notes which
take from the dignity of tragic lyric. With these faults there
also go faults of language, e.g. repetitions and the blending of
trivialities with higher poetic diction.

1249. kal piv tw y os. . émbdel—&o. There is little to
choose between émdelEw of R (cf. Dem. 1020, etc.) and d&rodelEw
of the other mss., but since émidelkyuye more clearly conveys
the idea of offering specimens in proof, while drodeixvum rather
suggests argumentation, the former is to be preferred, Editors

1252—1259 NOTES 239

(after Dobree) mostly read ois for @s on the ground that ws
could not stand for é7ws (‘I have the means to . .’). ‘But (1)
since éyw Kkaxas, kad@s, ows, etc., are good Greek, it may be
that éyw ws émideiEw is also colloquially good in the sense ‘I
am so situated that . .’; lit. ‘I am placed how (=in the way
in which) I shall’: (2) that ws, though less frequent, can be
used in a formula of this kind for érws appears from Soph.
Ant. 750 ravrnv wor’ ovK éc80’ ws ere SGoav yapets, Phil. 196
ovK 60’ ws ov Oewv Tov medN€éTy (7rover).

1252. dpovrifav yap éywy exw. As there appears to be
no parallel to éyw gpovrifew in any other sense than ‘I am
able to be anxious’ (which is an absurd expression), it seems
probable that we should read gpovrifwv . . go, ‘I keep
troubling my mind.’ It is true that éyw is not commonly
joined with other participial tenses than the aorist, but the
perfect occurs two or three times (e.g. Soph. 0. 7’. 701, Phid.
600), and the present is found in Eur. 7'ro. 317 warpida idav
kataorévovo’ éxeis. Nor is there anything a priori remarkable
in this application of the intrans. éyw. As roincov avicas and
dvvoov tojoas, P0dvw modv and row POdvwy are quite inter-
changeable, so Anpeis éxwv, Ti éornk’ Exwv; (cf. 202, 512) are
theoretically interchangeable with Aypay éxw, Ti éoTas exw ;
The instance from Euripides shows this to be more than theory,
and the verse here is lyric and parodied from some higher
style.

1256. TOv péxpt vuvi. The mss. give the unmetrical tév
tr. viv Svtwv, with variant tav viv é dvrev. The reading
in the text is borrowed from the explanation in the schol. rap
wéxpt viv dvrwv tronrav. But it is not good to press such
merely necessary words in an exegesis. Bentley regarded
évrwy as an adscript, and read tév ért vuvl. Yet, judging from
the two positions in Mss., it is viv which is the adscript, in-
-corporated in different positions by different texts. Possibly,
therefore, we should read r&v émidvtwv, ‘his successors.’ The
idiom by which a person is said to be cdANoros Tay émidvTwr
is too familiar to need more than the reminder of déto\oywrarov
TOV Wpoyeyernuev wv,

1259 sq. tov Baxyxetov dvaxra: implying (1) ‘the inspired
lord (of song),’ (2) ‘king of the Bacchic stage.’ The words
strongly indicate parody. In the Orphic Hymn 30 the ex-
pression is applied to Dionysus himself. trép avrotd: sc.
Enripides, for his daring and probable defeat. [Many editors
suspect the last four lines, partly because they repeat the
notion of 1252-1256, and partly because they separate péAn
(1255) rather widely from the retort of Euripides (1261).

240 THE FROGS OF ARISTOPHANES 1261—1270

Possibly, of course, there is a blending of the two editions of
the play (Introd. p. xxvi), but the arguments are not strong,
particularly when we remember that the whole passage is
probably an adapted semi-quotation. ]

1261. SelEe.: impersonally. Cf. Vesp. 993 BIA. ras yap
qywviopeba; BAR. delfev gorxey, Dem. 24. 1 doe? 5’ Euovye
delEew otk els waxpdv. More usually a subject is expressed in
the shape of avré or totpyov avré, e.g. Eur. Phoen. 624 atrd
onMavet.

1262. eis €v . . Evvrepd, ‘I will cut them all down to one
(pattern).’ See introductory note to 1248. [In péAy there
may also be a play upon the sense ‘limbs’=‘I will make
mincemeat of him.’ Cf. karayopdevev, uwutrwreverr. |

1263. trav WHpev, ‘some of the counters (which are here).’
The art. in such cases is really demonstrative. |

1264. Preceding this line there is in the Mss, a stage-
direction diav\vov mpooavdet ris, i.e. there is a passage of music
on the flute serving as interval. Such waperiypadai are rare
in Mss., but a well-known instance is that of uvypuds and wypuds
as stage-directions in Aesch. Hwm. 117 sqq.

1264 sq. POadr “AxwdAdrAgcd k.t.A. The envoys (mpécPeis)
thus address Achilles in the A/yrmidons. ‘ Achilles, hero of
Phthia, why, when thou hearest the blows of slaughter
(befalling the Greek army through thy absence), dost thou
not come to the rescue?’ Euripides of course chants this
to the flute in exaggerated mimicry of the actual tune of
Aeschylus.

1266. ‘Hppav pév «.t.A.: from the Psychagogi, where it is
sung by the Arcadians about Lake Stymphalus, who claimed
to be descended from the Hermes so closely identified with Mt.
Cyllene.

1267. i Kérov k.t.A. The words are simply repeated from
1265 to show that, musically, the same bars will do. There
is no notion of ridiculing a meaningless refrain (see note to
1248. Such ephymnia as Aeschylus uses are in no way
irrelevant, nor are they of characteristic frequency.

1268. 800 wou KéTw «.7.A. Dionysus joins in, sarcastically
chanting in the same dactylic tune. He takes two of his
counters (1263), and says ‘that’s two xémo to you, Aeschylus.’
kérw not only refers to i) xérov, but means that Euripides has
succeeded in getting in two ‘blows.’ So 1272.

1270. kidior’ “Ayxatdv «.7.A.: variously said to be from

1273—1284 NOTES 241

the Telephus or the Iphigenia of Aeschylus. Construe pov
with pavOave. .

1273. evpapetre k.7.A.: from the ‘Tépea:. The construction
is mwéas (elciv, wore) olyev x.7.X. The pedtooovdpor are
priestesses of Artemis, one of whose titles was MéNooa.
Priestesses themselves, both of Artemis and of other divinities
(Cybele, Demeter, etc.), were also called wédwcom. Cf. Pind.
=P. 4. 60 Aedpidos pericoas. No satisfactory explanation of
the word is yet forthcoming. It is very probably a Graecized
form of some foreign term.

1276. Kupids eipt Opoety k.7.A.: from the Agamemnon (104).
‘I have warrant to tell of the favourable omen of victory
(seen) upon the going forth of the brave (to Troy).’ The next
words are the dactylic éxredéwy @rue yap OedOev Karamvela . .
The omen was that of two eagles rendiny a hare.

1278. Td xpipa trav Kétav Scov, ‘what a lot of Kéra!’
(lit. ‘what a business of the xémra’). Cf. Nub. 2 © Zed
Baowred, TO XpHua THY vUKToV door.

1279. és rd Baravetov BotrAopar, ‘I want to go to the bath.’
He professes to be suffering so much from kéro (in the other
sense of ‘exhaustion ’) that he must seek the orthodox remedy.
Cf. Arist. Problem. 1. 39 rovs pév Oepivods Kdmouvs NovTp@e ldcPac
det, Tovs dé Yemepwvovs dreiupart. The idiom (ellipse or brachy-
logy) by which the verb of going is omitted is readily paralleled
(though Apollophanes, Com. Frag. li. 880 éwl rhv rpdmegav
BovNoua is not in point). Cf. Theoc. 15. 147 dpa duws Kjs oikor,
Xen. Hell. 2. 3. 20 KeXevoavres émi Ta Sada, Cic. ad Att. 6. 7
Rhodum volo puerorum causa, Milton, Sams. Agon. 1250 He
will directly to the lords. The omission of other verbs is less
frequent, but sometimes occurs where the sense is obvious.
Cf. Herond. 1. 3 ris riv Ovpny ; (sc. Exowe).

1281. ordow peddy, ‘set of lyrics.’ It is natural to compare
this with the technical word ordoipov (uédos) used of a lyric
passage sung by a chorus when in position (i.e. not marching) ;
but ordois may simply = ot’ornua (Kock).

1282. €« rév KibapwduKGv vipwv, ‘out of the (several
recognised) modes for the harp,’ as formulated by Terpander
and subsequently elaborated. Eur. proposes to show how
monotonous are the arpeggi which complete the musical system
of the lyrics.

1283. mépawe: 1170 n.

1284. 8trws ’Ayadv «.t.A.: from Agam. 110. The passage
runs (after @poetvy sup. 1275) drws "Axatdy diPpovov Kpdros,

R

249 THE FROGS OF ARISTOPHANES 1284—12091

‘EAddos HBas (#Bav Mss, of Aesch.) | Evudpova raydy, | réurer
&lv Sopl Kal xepi (dikas Mss. of Aesch. in place of Kal xepl,
evidently from an adscript to the next word) rpdxrop: | Povpros
dpvis Tevxpld’ én’ aiay. [The present place lends much help to
the correction of the Aeschylean mss.] Aristoph. makes Eur.
jumble these and other lines together for comic purposes, but
their intention is not to attribute any such incoherence to
Aeschylus, but to illustrate the point that musically ‘it is all
the same.’

S(@povov kpdros: Agamemnon and Menelaus, the joint
commanders.

‘EdAddos. If HBas is right, this="EAAniKjs or “ENAnvidos.
Cf. Soph. Phil. 223 cxijua . . “EAAdbos orodfs.

HPas: cf. jrcxla, iwventus, pubes. [For a probable #Bay see
crit. n.]

1285. pdatrdbpar: an imitation of one species of harp
accompaniment (xpotous), as Operravedd is of another (Put. 290).
In Thesm. 48 BouBadoBouBag represents one sound of a trumpet,
as Ennius’ taratantara does another.

1286. Udlyya «.7.A.: from the Sphinx, the satyric drama
which went with the Aeschylean Oédipodea or trilogy of Laius,
Oedipus and Seven against Thebes.

Suvcapepiav mpvraviv, ‘who presides over (dispenses) mis-
fortunes’ (to Thebes). Cf. Pind. P. 6. 24 oreporay xepaivwy re
1 puTaviy.

Kiva: of a dogging agent, sent by some malevolent power.
Cf. 472 n., Soph. O. 7. 391 66’ 7 pawwdds év0d5 Hv Kbwr.

1289. ov dopl «.7.A.: Agam. 1138.

mpakropt, ‘avenging.’ The masc. form of adjectives of the
agent in -ryp -Twp is frequent in verse with fem. nouns. Cf.
Aesch. S.c. 7. 718 madodérwp” Kpis, Suppl. 1050 0éXxropr MWecOot,
Soph. £7. 850 isrwp (of a woman). In Aesch. Hwm. 320 the
Erinyes call themselves wpdxropes atwaros.

Bovpios Spvis, ‘an omen inspiring fierce courage’ (the 8éd.0r
xpatos of 1275).

1291. Kupeiv mapacyev «.7.A.: from an unknown source.
Lit. ‘having given (it, or them) to the reckless hounds that
range the air, to light upon (and treat as they will).’ For kvow,
here apparently of vultures, cf. 1287; in Aesch. Ag. 141, P. V.
1053 of eagles. The meaning is defined from the oxymoron,
as in kOua xepoatov (Aesch. S. ¢. 7’. 64), wravotcw xvol (Ag. 141),
darepot edelades, etc, With nupetv cf. Hom. J7. 17. 272 xvoi

1293-1299 NOTES 243

KUpua yevésOat, Od. 3. 271 KddXurev olwvoicw ewp Kal Kipua
yevéc bar,

1293. 1d ovykAwés k.t.A. : from the Op7oca. The meaning
appears to be ‘the combination (or league) against Ajax.’

1296 sq. é« Mapadavos x.r.A. The most natural interpreta-
tion of this passage is that in the swampy plain at Marathon
there grew a species of rush (¢Aéws schol.) which was used for
making ropes (like cxotvos), and that the rope-twisters (iuovio-
oTpdpo) at their work in the rope-walk, sang a monotonous
‘chanty.’ Most Greek occupations had their special form of
beguiling ditty. Thus Athenaeus (618 D) speaks of the émiuvrALos
of millers, the atdwos of icrovpyot (weavers), the tovAos of
Tahactoupyol (spinners), the Aurvépons of harvesters, and alludes
to different wdai of agricultural labourers, bathmen, etc. There
was, it is true, an iwatos, which is described variously as a song
of millers (Ath. 619 8B), or, as used by Callimachus (quoted by
schol. here), of water-drawers (deidec kai mov tis dvnp vdarnyds
iwatov). The schol. is therefore led to explain iuovioorpddov
here as referring to the latter. But (1) there seems no reason
for connecting this occupation specially with Marathon, (2)
the similarly formed cxowocrpdgos (Pollux) or cxowoarpsdos
(Plut. Mor. 473 ©)=cxoworddxos, ‘rope-twister.’ [Possibly
there may be included an allusion to the interminableness as
well as the monotony, with a glance at the use of cxorvorer7s
(ef. Pind. fr. 47 cxoworévera dodd), but there is no need to
press this. ]

1298. add’ odv éyd pév, ‘well, at any rate I (for my part)
took them from a good source (and applied them) ‘to a good
purpose.’ [Probably we should read GX’ ody éya pév y’. For
aX’ ofv . . ye cf. Aesch. P. V. 1091, Soph. Aj. 535, The
combination pév ye is also very common. ]

1299 sq. Wa ph tov airov «.7.A. The expression is rather
condensed and=‘(and I chose to adopt these simple melodies
which you dislike) in order that I might not trespass on the
preserves of Phrynichus,’ i.e. Aesch. deliberately avoided
similarity to the proverbially ‘honeyed’ lyrics of that poet,
preferring to go back to the plain and regular véuo. of Terpander
(1282 n.).

Ppuvixw. The chief characteristic of the melodies of Ph. was
their sweetness. The Elizabethans would have called them
‘sugared,’ as the Greeks called them ‘honey.’ Cf. Vesp. 220
apxarouehiodwvoppurixjpara, Av. 750 évOev worepel pédcrra |
Ppvvixos auBpociwy wehGv ameBdoxeto Kaprov det Pélpwv yduKeiav
@ddv. Hence the following metaphor of the ‘meadow.’

244 THE FROGS OF ARISTOPHANES 1301-1303

Lucian (Pisce. 7) varies this figure with rov Aeudva éxetvor (of
Plato’s writings) dvarerdcavres od éxwrtoapuev SpérecOat K.T.X.
The metaphor from the bee occurs also in Plat. Jon 534 A éx
Movodv xkirwv . . dperduevor Ta men Huty pépovow woTep ai
MELT TAL.

1301. otros . . tapowlwv, ‘ but this fellow gets (his) honey
from all sorts of drinking-songs.’ péAu is A. Palmer’s perfect
emendation of the meaningless pév of mss. (MEN=MEAIT).
uédt keeps up the metaphor, supplies an obj. to épe, and its
sarcasm is obvious. ‘tapotviwy (Kock) is by no means a certain
emendation of the mss., but it is at least convenient. apoiva
(aouara) are songs sung map’ olvy.

1302. oxoXlwv. The oxddcov was a convivial catch sung to
the lyre at a banquet. Among the Athenians ‘its prevailing
characteristic is, in a simple form, to reproduce or twist the
thought of some famous poem, to amplify some well-known
sententious utterance, or to picture some scene from a popular
story’ (Smyth Greek Melic Poets, p. citi). How the word was
derived from some sense of the adj. oxoduds is a problem much
discussed (ibid. pp. xcv sqq.). It had probably nothing to do
with a succession of singers zigzagging round the symposium ;
but it may very well have been deduced from the very ‘twist-
ing’ mentioned above.

Medjrov. This man, an indifferent tragic poet who also
composed amatory pieces (Ath. 605 E), is often assumed to be
the same as the accuser of Socrates (Plat. Ap. 23 » Médnros peév
éré0ero tmrép Tav TonTav axObuevos). There is, however, a
sreat difficulty in the fact that Plato speaks of Meletus as
young and unknown at the date of the trial of Socrates (399
B.C.). Moreover, a poet Meletus was referred to in the Georgi
of Aristophanes as early (apparently) as 425 B.c. ; and it is out
of the question that a man who was young and unknown in
399 B.c. should have composed oxéd\va which were in vogue
during the activity of Euripides. Different persons of the same
name .occur too often in Athenian history for us to identify
the bearer of the name MéAnros in this facile manner. The
Meletus here may have been the father (or even the grandfather)
of the accuser of Socrates, and the defence of the poets on the
part of the latter may have been taken up either for his father’s
sake or because he was walking in his father’s steps.

Kapukdv avAnpdatrey: commonly of a dirge-like character.
Pollux (4. 75) has OpnvGdes yap 7d diAnua 7d Kapexdv. Cf. Plat.
Legg. 800 &.

1303. yopedv, ‘dances,’ ie. dance-music (cf. 247 n., and a

1 304—1 309 NOTES 245

fragment of Pratinas dkove rav éuav Awpiay xopeiav). With the
accentuation yopetwv the sense is ‘dancing-places.’ But xopeiov
appears to be a late word and is out of keeping with the other
nouns in the list.

1304. rd Adprov, ‘the (usual) lyre (for accompaniments).’

1305. éri rovrov. The common reading is émt totrov ‘to
attack him with,’ but this can hardly be the sense, which is
rather given by the variant éml tovrwv, ‘in the case of tunes
like these.’ [emirotrotroy of R. plainly points to ém rovrou
with -rov superscribed in supposed correction.] For the gen.
is quoted Plat. Rep. 399 A ravrais éwi modeuxay avdpa&y ec0 &
Ti xpyjoec ; add Isoc. 6. 41 él pév Tis Nuerépas modEws ovdev exw
To.ovrov eimety.

Tots 6aTpadKots, ‘with the castanets’ (of earthenware). The
tunes of Euripides are fit to be accompanied, not by the lyre,
but by the ‘bones.’ Aeschylus looks round for a female figure
(a mapaxopyynua) who has been brought on the scene, and who
is using the castanets. He calls her forward (‘where is that
woman who is rattling with the bones ?’) and says, ‘ come here,
you Muse of Euripides (i.e. who are good enough for his Muse).’
The said Muse is, of course, of slovenly appearance, and she
has a remarkable pair of feet (1323 n.).

1307. mpos tviep, lit. ‘with an eye to whom’= ‘to whose
lead’; cf. ad (of the standard), Eur. Alc. 346 mpds AlBuy
Naxety | avdrdr.

1308. ov« éheoBlafev, ‘did not act the Lesbian,’ with a play
upon two senses, (1) ‘ practised no true music learned from the
Lesbians’ (Terpander, Sappho and other lyrists), (2) ‘had not
charms enough to play the part of the Lesbian women’ (who,
though of loose character, exercised fascinations). The imperf.
and tworé refer to the time when Euripides was writing. [We
must not render ‘never used to practise the Lesbian.’ This
in comedy would be ovdérore éXecBiagev. Aristoph. would not
use odzrore, still less 700’. . ov. Lit. ‘in days gone by she was
not one to practise Lesbian arts.”]

1309 sqq. Aeschylus sings illustrations of the lyric melodies
of Euripides. The ‘Muse of Euripides’ preludes with the
‘bones’ and, after each few bars, rattles a set of notes in
keeping with the Euripidean style of music. These xpovceis,
which are not marked in the mss., are to be assumed, as corre-
sponding to the ¢darréd@par of the harp-accompaniment of
Aeschylus (1286, ete.). The following jumble of passages is to
be considered as punctuated by the castanets at least after vv.
1312, 1316, 1318, 1319, 1321. While it is true that the absurd

246 THE FROGS OF ARISTOPHANES 1309-1315

medley is intended to be amusing as such, the immediate object
is not to ridicule any alleged incoherence of Euripides himself.
Aesch. is concerned with the peculiarities of the music, which
he considers to be wretchedly irregular and undignified
(xapaxrnyplfer ra Hvpirldov wédn ws éxdedupuéva schol.). We do
not possess any precise understanding of the principles involved,
but it is clear that the arrangements of the ypdva (the manner
in which the short and long syllables were arranged) and the
introduction of ‘shakes’ (1314) were regarded as unworthy
departures from the orthodox manner of tragedy. They were
better suited to oxddca, Opfvo and the like (1301 sqq.). The
audience would, of course, recognise the tunes. ‘The lines are
necessarily almost verbatim quotations (except for such a word
as orwuvAdere 1310), but their sources are only partially known
to us. 13817 sq. are from lect. 435 sq.; 1322 from the
Hypsipyle, but for the remainder we can find only slight
suggestions of resemblance. Thus in J. 7. 1089 occurs a re-
ference to the halcyon, but there all likeness to v. 13809 ends.

1309. dAxvdves «.t.AX.: cf. Eur. 7. 7. 1089 dps & mapa
metpivas | mévrov Seipddas, adKxudv, | édreyov olxrpov deldets.
There mapa (with accus.) shows the bird flying, here (with dat.)
sitting or standing.

1310. orwptddere : a prose word humorously substituted for
one more poetical, but also hinting at the frequent (alleged)
trivialities of Euripides.

1311. vorfois mrepdv pavlor, ‘with showers of spray from
your plumage.’ The combination of vérvos or bypéds with pavis
and the like is used to limit the noun, which alone would not
bs definite in meaning.

1314. eievererAlooere. The shake or prolongation (éréxraocts)
is a feature of the Euripidean music, whereas in the older style
of Aesch. one syllable meant one note. In £#. 486 the second
hand of L gives eieiAuccduevos for the common reading eidiood-
pevos. The musical fragments discovered at Delphi mark
repetitions of certain notes, although they do not indicate them
more than twice. Y

pddrayyes, ‘long-legged spiders,’ are substitutes for e.g.
yuvaixes, as is shown by the following words concerning the
loom and the singing shuttle. In such an original drwpddror
would mean ‘indoors,’ but Aristoph. converts it into ‘under
the ceiling.’

1315. iordérova, ‘wrought upon the loom.’ The variant
iprérova, would=‘stretched upon . .’ THVITPATA: See
éxmyvietrac 578 n.

1316—1330 NOTES 247

1316. Kepx(Sos dovdod pedéras, lit. ‘the exercises (= studied
productions) of the musical shuttle,’ in appos. to mnvicuara.
For the humming of the xepxis cf. Verg. Aen. 7. 14 arguto
percurrens pectine telas, G. 1. 2938.

1317 sq. tv’ & fdavdos . . Kkvavep Boros: verbatim from
Hi. 435. The fondness of the dolphin for music was proverbial
(cf. the story of Arion). He would be attracted by the flute
of the rpiunpavAns (sup. 205); cf. Plin. H. N. 9. 8 Delphinus
muleetur symphoniae cantu et praecipue hydrault sono.

émadAe: occasionally intrans. (=émd)Xero) ; cf. Lys. 13804,

awpwpars: not local, but dat. commodi. They dance ‘to the
prows,’ as if in their honour; cf. xopevew, dpxetoPat, yopor
iordvac Tui and 445 n.

kvavep Porous ; cf. Hy. 554 xvavéuBorto . . rpufpes and the
Homeric xvavérpwpos. Aeschylus (Pers. 562, Swppl. 751) has
Kvavwrides. The word is restricted to ships of war, and may
have been derived from a facing of blue steel.

1319. pavreta Kal oradiouvs : a new quotation without refer-
ence to the preceding clause. Doubtless we might make the
words depend on ézaAXe as a contained accus., ‘it leaped in
(=so as to give) omens and (so as to perform) races.’ But the
preceding lines are quoted directly, and there is nothing in the
context to correspond to this. Aesch. is simply singing an
odd bar or two, well known to the audience, to illustrate the
musical and metrical point. The same may be said of the next
two lines.

1322. wep(Badd’ «.7.A.: from the Hypsipyle. On quoting
this the actor seeks to embrace the ‘ Muse of Euripides.’

1323. opgas Tov 7é8a TotTov; This may be a quotation from
the Telephus or the Philoctetes, where a maimed leg was in
question. There is, of course, a reference to the peculiar
metrical feet of Euripides, and, in illustrating, the actor would
display first the one foot of the ‘Muse’ and then the other
(1324). The two feet would be a comically shapeless and ill-
matched pair.

1329. ta pédXn: in the restricted sense of the choral as
opposed to the monodic melic. In 1364 the monodies are
included.

1330. pov@diey: see 849 n. The monody which follows is
one of the ‘Cretan’ kind, as is shown by Kopfjres (1356) and
Alkxruvva (1359). We must suppose that Aesch. sings and
dances this in caricature of some Euripidean taépynua familiar

\

248 THE FROGS OF ARISTOPHANES 1331—1339

to the audience, and that his purpose is to ridicule the whole
style of composition and performance, from a musical, literary
and scenic print of view. Hen-e the characteristic repetitions
of words and the lapses into utterly prosaic diction and trivial
matter. ‘The whole is an excellent burlesque, containing enough
reminiscences of the original Euripides to impart verisimilitude,
while affording opportunities for the geutle ‘art of siuking in
poetry ’

1331. KeAawodars dphdva: an oxymoron, ‘gloom whose
light is (but) blackness.’

1334. wWoxdav dbvxov: cf. Hee. 610 viudny 7 dvuppor
mapbévov T amadpfevov. Such expressions are no special mark of
Euripides ; they belong to tragic language in general, and are
sufficiently frequent in Aesch. himself (e.g. Pers. 682 vaes dvaes,
Cho. 42 xdpw dxapiy).

1336. peAavovecve(wova, ‘clad in the black garb of the dead,
i.e. a ghost-bogey. The denizens of the underworld appear in
black; cf. (of the Furies) Aesch. Hum. 372 huerépats épddors
pedavelwoow, and (of ordinary ghosts) Lucian Philops. 32 kal
Ties Tov veavioxwy, éperxnrew Bovrdmevor avrov (sc. Democritus)
Kal deymarovv, oreiAdevoar vekpiK@s Eo O7Te medalvy K.T.A.

dovia divia: such excited repetitions are frequent in
Kuripides. See specially Hec. 688 sqq., and Or. 1426 Ppvyias
éruxov Ppvylo: vouos | mapa Bdorpvxov atpay atpay | ‘EXévas
‘EXévas edraye kikiw |. . doowv, Hel. 648, etc.

1337. peydadous dvuxas: as becomes a bogey.

1338. GAAG por dudimodo. «.7.A.: from the Temenidae
(schol. ).

1339 sqq. ék jwotapav . . adroxAvow. After an evil dream
it was customary to perform a purificatory ceremony with either
running water or water from the sea; cf. Aesch. Pers. 203 xai
Tatra wév 5) vuxros eloideiy Aéyw | éwel O° dvéornv Kal xepot
kadippbou | @~avoa mnyjs x.7.r., Apoll. Rhod. 4. 660, Pers. 2.
16 noctem flumine purgant. Technically this was called
amod.oroumetc Oa.

vdwp : the epic quantity, suited to the hexameter ; cf. Hom.
Od. 8. 426.

aroxAtow : of washing away from one’s self the niddle would
be more usual (cf. drovifoua, droxabalperOat, droméurouat, etc.).
Nevertheless there is nothing to prevent a Greek writer from
treating the action objectively, simply as it affects the thing
removed.

1341—1368 NOTES 249

1341. movrie Satpov: Poseidon. Whatever may have been
the motive of the invocation in the original, it is here brought
into sharp and sudden contrast with the prosaic totr éketvo.
‘O God of the Sea !—so that’s it!’ (i.e. ‘1 see what the dream
meant ; it is that my neighbour Glyce sp stolen my rooster’).

1342. rade répa, ‘these portents (and their meaning).’ The
usual plur. is répara, but the present form auswers to yépa, xpéa,
etc. It is supported also by a declension (found in Herodotus)
of répas répeos alternative to répas réparos (Kiihner-Blass i. pp.
431 sq.). It is also just the form which a comedian would
burlesque. [The reading 148’ érepa ruins all the sense. ]

1344. vipdar dpecoiyovor, After invoking the Oreads
there is a drop to another nymph in the shape of Mania
(‘ Betty ’) the maid. Mayia (fem. of Mars, cf. 965 n.) was
a Phrygian name frequent with slave-girls ; cf. Ath. 578 B.

1348. eleverecdiooovoa: 1314 n.

1350. kvedhatos: in the dark before dawn; cf. Verg. G@. 3.
402 sub lucem exportans calathis adit oppida pastor. The adj.
expressing the time of the action is a common idiom even in
current language; cf. Vesp. 124 6 0 dveddvyn xvepaios émi TH
KiykAlo., ibid. 774 weonuBpivds, Xen. An. 4. 1. 10 xaréBawov 75n
oxoratot. So in Latin verse Verg. G. 3. 538 nocturnus obambulat.

1353. akpais, ‘swiftest (or strongest) effort’; (lit. with
wings at their tip-top). So rodav, xe.pov dxuy or dkuat.

1356. ® Kpfjres: from the play of that name (schol.). With
7a Toga following it is here converted into a poetical way of
calling for the police (605 n.).

1358. tiv oikfav: an unpoetical word, deliberately sub-
stituted for something in higher style.

1359. Aixruvva: the Cretan Artemis as huntress (cf. dixrvor).

1360. tas kuviokas: the prosaic dimin. is a burlesque. The
female hound was considered the more keen-scented.

1362. d€vTatas, ‘at their brightest,’ ‘ with keenest light’ (as
required for the search).

1363. dwpdow: the regular word for searching for sialon
goods. Cf. Nub. 499 adn’ otxl dwpdowv @ywy’ eicépxouar, Plat.
Legg. 954 A.

1367. To yap Bapos vo x.7.., ‘for the weight of our phrases

will test us.” The specific gravity of a fjua depends on the
weight and dignity of the matter pressed into it.

1368 sq. elmep ye Set . . Téxvyv. It is easiest to place a

*

250 THE FROGS OF ARISTOPHANES 1370—1380

comma at pe, to supply rorjoa, and to treat the next line as
exegetic of totro (mojoa). Cf. Plat. Gorg. 491 D 4 rodro peéev
ovdev del, avrov éavrod dpxew; Dem. de Cor. 139 dvoty atrov
avayKkn Odrepov, 7} undév éyxadelv x.7.d., Soph. Phil. 310 éxeivo
0 ovdeis, Hvix’ av uvnoO&, Béde, | cHoai ww’ és olkous. [It is,
however, quite possible to construe ed de? we Toiro TupoTwdfoa
réxvnv ‘if I am to do this cheese-selling of poetry,’ rofro being
adverbial (containéd) accus., as in rodré ce \uTA, welOw, word, ete.
(cf. 13-15 n.).] tTvpomwAfoar is treated as a trans. verb, ‘treat
after the manner of cheese-selling’=vvpomwdixds drabetvar. CF.
Pac. 747 €devdporéunoe 7d vOrov, and sup. 798 peaywyjoover Thy ~
Tpaywolav.

Since v. 1369 is mock-tragic, this might account for the
absence of the article with réxyvyv, but that absence is more
naturally to be explained by the sense ‘to weigh out art’
(i.e. quantities of it).

1370. émimovor, ‘strenuous.’ They do not give up a
difficulty.

[1373. After this verse editors commonly mark a lacuna, on
the assumption that 1370-1377 should answer to 1482-1490.
But there is no indication of hiatus in the sense here, and the
supposed antistrophic correspondence is by no means certain. |

1374. pa tov. For the omission of the name of a deity cf.
Plat. Gorg. 466 E dnl pev obv @ywye. TQ. wa Tov, ob ct ye. So
pa THY (Plut. Cleom. 4). Considering the freedom with which
the names of the deities were used it is hardly likely that this
suppression came of reverence. It more probably originated in
indecision or indifference as to which god should be sworn by.
It may also be suspected that a name was sometimes deliberately
withheld, when an oath was not taken seriously. The
consequences of:even accidental émopxia were thus avoided.
The schol. here explains that the ellipse is evAaBelas ydpu, and,
whatever he may have intended to convey, the expression is
more true than if he had said evocBeias yapw.

1375. Tév émitvydvtev : after ov8é this is a humorous rapa
mpocdoxtay ; ‘not even if I had been told it by a—man in the
street,’ lit. ‘man I met with’ (cf. 6 ruxwv, 6 émmv). We
should have expected eg. Trav capis eiddTwy, avbrorray,
mapeotnkorwy or the like, but Aristoph. satirises our common
credulity, which so readily takes the word of the first gossip.

1379. AaBopévw: sc. adroiy. Each is to hold his scale while
he speaks into it.

1380. KoxKtow, ‘crow.’ Kxoxkifew is used not only of the
cuckoo but also of the cock. Cf. Hecl. 31, Cratin. Com. Frag.

1382—1401 NOTES 251

ii. 186 Koxxdgew Tov ddexrpvdv’ otx avéxovra, Anecd. Bekk. 21.
24 ddew ddexrpvdvas “Artik@s* Td O€ KokkUfew Kwyckol éyouow
(i.e. they use that word also). [The ‘ cuckoo-clock’ originally
represented Chanticleer. ]

1382 sq. el@ dheX «.7.A. To the first line of the Medea
Aesch. responds from his Phi/octetes.

1384. kal woAv ye, ‘very much more. .
closely with the adverb.

1388. émrepwpévov : referring to diartdoba,

1391. odk %or. Tleots x«.7.X.: from his Antigone.
‘Persuasion has no temple except reasoning words.’ The next
line ran kal Bwuds airijs €or’ év dvOpwrov pice.

1392. pdvos Gedy yap «.7.A.: from the Niobe (fr. 161 N).
The passage continued with odd’ dv re Oiwv ot émiorévdwy
divas, | 008’ gore Bwpds odde mramwvlferar, | wdvou dé Tea darmdvwv
admootate?. In this instance the matter of the reply is suggested
by his rival’s quotation.

1393. péBerOe péeoGe: see crit. n. The abrupt rhythm (if
correct here) is justified by the conversational repetition. Cf.
Thesm. 1184 karnoo xaryoo.

Kal Td Todde y ad péret, ‘and (lo and behold!) once more
his scale descends.’ Kal must (with ye) be used in a tone of
sarcastic impatience ‘ (well, you have let go), and, of course . .’
It obviously does not emphasise 76 Todd, and its position prevents
us from joining it to ad (‘once more’).

,

Kal (etiam) goes

1395. eros dpior’ eipnpévov, ‘an excellently expressed verse.’
Cf. 1161.

1400. BéBAnw’ *AxAAeds «.7.A., ‘Achilles has thrown two
aces and a four.’ ‘This is from the Zelephus, in which the
Greek chiefs are playing dice. It is true that metaphorical
allusions to dice are not rare in serious poetry (e.g. Aesch. dg.
32 tpls && Barovons ricdé por ppvxtwplas, Cho. 967), but the
introduction of an actual scene in which the characters are
dicing, and also of a line so hopelessly prosaic and trivial, was
left for Euripides to venture. Three dice were used, and the
highest throw was zpls €. Besides its commoner sense kvfos
(properly the ‘pip’ on the dice) has the special meaning of
wovds (‘ace’). The throw is, therefore, a poor one and the
‘weight’ of the line would be small. Dionysus is doubly
sarcastic.

1401. atry ‘orl Aourh ohdv ordois: not airy } ordovs nor
H Aor}. Lit. ‘this (only) is left for you as a weighing.’

”

252 THE FROGS OF ARISTOPHANES 1402-1414

Greek often dispenses with the word for ‘only,’ an emphasis
being assumed upon the word to which it would belong. See
the editor’s note on Plat. Rep. 3335 ef mpds Ta &xpnoTa (sc.
pLdvov) xphotmov dv TUYXaVEL.

1402. odypoBpibés x.7.A.: from the Meleager. The adj.
suggests Bdpos enough, but the line is easily beaten.

1403. ép’ Gpyaros «.t.A. : from the Glaucus Potnieus. The
schol. on Eur. Phoen. 1194 quotes the next line as tra 0° 颒
immo foav éurepupuévo. This may account for the dat. vexpa,
which can anticipate emt. . Cf. Pind. J. 1. 29 pel@poict Te
Alpxas €pavev kal map’ Hipwre, Soph. Ant. 366 roré pev Kkaxdr,
diddor’ ém’ écOXov pre, and, in comedy, Eg. 610 mare yn mar’
év Oadarryn, Av. 740 vdraci re Kal Kopupats év dpelars. [Other-.
wise it is easy to read Kav vexp@, nor is it improbable that the
sentence should here be complete. ]

1406. ods otk av dpawr’ k.t.A. There is probably only an
accidental similarity between this and Eur. Or. 2 cupdopa
Oendaros, | is ovK dv Apa’ &xOos avOpwrov picts. The Egyptians
were proverbially dx@opdpo (schol. here and at Av. 1133
Alytrrwos mXwv8opédpos).

1407. Kal pynkér’: sc. Bacdyige tiv molnow udev, or éoTw 7
ordo.s. The force of cal is ‘yes (i.e. no doubt he is outweighed
as you say), and (we may go further) . .’

1408 sq. adrds, Ta madi? . . Kabqobw : for both construction
and thought ef. 587 ; for Cephisophon as collaborateur see 944 ;
for ra BrBAla 943.

1410. It is not very clear why some editors assume a lacuna
after this line. Dionysus has already said (1401) that the
weighing would stop with the next quotations. After Eur. is
again beaten, Aesch. boasts that he would be prepared to meet
any odds. But, since his test is but a ‘sporting offer’ which
manifestly cannot be adopted, Di. ignores it and proceeds.

1413. Tov pev yap Hyotpar «.7.A. Dionysus still represents
the popular opinion, but beginning to doubt itself. He cannot
but realise now that Aeschylus (Tov pév) as poet is cogds
(doctus, cf. 1154n.), but he also knows that he finds pleasure
rather in Euripides (ro 8’). [Others reverse the application of
the demonstratives, but this misses the above point and itself
contains none. |

1414. oddStv dpa mpdgées: i.e. dmpaxros goa, ‘your journey
will have been in vain.’ Pluto means that only a distinct
choice will entitle one of the poets to depart. Hence the
following question of Dionysus.

«

1416—1424 NOTES 253

1416. tv’ 2XOns ph parynv: not=iva wih 2Z\Ons udrynyv. See
639 n.

1417. evSaovolns: a form of thanks when accepting. Cf.
Eur. £7, 231 evda:movoins, uicbdv jdlorwy AdOywv. ‘ Blessings
upon you!’

1419. wv’ 4 mdédts cwPeioa K.T.A., ie. ‘So that the country,
being saved (by the poet’s wisdom), may (continue to) hold the
proper choric festivals (which belong to me, and which I
naturally desire to see maintained).’ The function of the poet
as teacher of wisdom (1909 sq.) is here put at its highest. In
the theatre he can influence the largest Athenian gathering
(678) under privilege (686 sq.) more effectively than any p7j7wp
in the assembly. Dionysus therefore proceeds to test their
copia in the way of political mapawéces. [There is no special
allusion to the next Great Dionysia which are to follow in a
few weeks. The tragic poet could not ‘save the country’ in
that interval. The reference is general.] The feeling of danger
at Athens is clear from this and other places. See Introd.
p. Xxill.

1421. péAAy, ‘is likely to’ (when he gets back to earth).

dEew pot Soca, ‘I am minded to take’ (=doke? wot ayayeiv) ;
lit. ‘I seem (to myself) that I will take.’ [From this use of
the future there came a (rarer) use of the present infin. in a less
decided sense: e.g. Vesp. 177 riv évov é&dyew Soxd (which
editors should not change to é&déev), Aesch. Ag. 16 bray 8
deidew 7) uuwiperOar doxd. ‘I seem to myself to be doing this
or that’ is surely a tolerable idiom of the anticipatory or
panoramic present used for the future (Ktihner-Gerth 1. p.
138). ]

1422. wept “AdxiBiddov. See Introd. p. xxiv. Alcibiades
was at this time in the Thracian Chersonese. It can hardly
be doubted that this discussion is a ‘feeler.’ The audience
would signify its approval or disapproval of the sentiments
expressed, and the supporters of Alcibiades would derive hints
for their course of action.

1423. Svoroke?, ‘is in slow travail,’ i.e. in bringing to birth
a definite yywun on the subject.

1424. tiva; The general rule is that when an interrog.
pronoun, or pronominal adj. or adverb, is repeated by the
person questioned, he puts it in the indirect form; i.e. we
‘should expect qvrwa ; (=épwrds Hvrwa yrouny éxe;). Buta
general habit does not preclude other uses. Blaydes quotes
Av. 1234, Eecl. 761, Pac. 847, ete. in illustration of the direct
form. (Doubtless we might here save the rule—if it were worth

254 THE FROGS OF ARISTOPHANES 1425—1432

while—by giving this riva also to Euripides ; but the question
is then too eager and the answer less vivacious. ]

1425. roe pév «.7.A.: parodied from the @povpol of Ion of
Chios ovyé uév, éxOalpe dé, Botdreral ye wv (schol. ).

1427. prod wodlrnv x.t.A,: apparently quoted (with more
or less modification) from one of his own plays, since waétpav is
tragic, as in 1163. This may account for the variant wépuxe
for bavetrar. The rather difficult future is not likely to have
been wrongly substituted here for an easy perfect. Probably,
therefore, in the original context the word was réquxe (or
mépnve), but here Eur. is making no explicit statement as to
what is or has been the case with Alcibiades. He only hates
aman ‘if he shall (8o0ris= et 71s) prove to be’ of this character,
at the same time broadly hinting that he probably will so
prove.

1429. kal mépysov aitr®: made to agree with roAlrny, as if
the relative clause had taken the shape of d¢avotmevov Bpaddy
k.7.A. [Changes from a relat. clause to an equivalent of another
form (or vice versa) are not very common. Yet cf. Simonid.
5. 7 rpdéas yap eb was dvip dyads, | kaxds 6’, ef kakG@s, Xen.
Hell, 1. 4. 4 rair’ ofv dxovovres . . Kal émevdy KOpov eidov, Aesch.
Cho. 569 sq. n.]

apAXxavov probably combines the active and passive mean-
ings (1) ‘resourceless’ for his country, (2) a ‘hopeless’ person
for it to deal with. For the former (which is rarer) cf. Eur. -
Med. 408 -yuvaixes és ev @o ON’ adunyarwrara, | kaxOv 6¢ rdvrwr
TEKTOVES TOPWTATAL.

1431 sq. ob xpi Agovros «.7.A. It is out of the question
that both these lines should stand together. Either we have a
combination of the two editions of the Frogs, or (more likely)
1431 was the original line, which Aeschylus somewhere wrote,
but which he is here quoting in an altered shape in 1482.
Some early reader probably noted the original words in the
margin or between the verses. In favour of this view it should
be observed (1) that the line with pédtora pév has the less
tragic appearance, (2) that Plutarch (Alc. 16), quoting from
Aristophanes, gives that line but not the other. [Some mss.,
it is true, omit 1432, but their authority is not so ancient as
that of Plutarch.] The notion of nurturing a dangerous lion’s
whelp was apparently used by Aesch. in other places besides
the well-known 4g. 718 sqq.

1432. éxtpoapy tis: sc. A¢dwy. [The mss. of Plutarch have

éxtpépy, but the likelihood of ms. corruption was from éxrpady,
not to it.] It would have been better not to have permitted

1433-1438 NOTES 2955

such a dominating and wayward character as Alc. to be
developed in Athens, but, since it has been done, it is best to
‘put up with his ways.’

1433. tov cwrtipa: the form of the oath is deliberate, since
the whole question is of cwrnpia, Cf. 1166, 1169.

1434. 6 pév codds . . cadds: so the Mss., but commentators
have naturally been at a loss to decide which has spoken cadgds,
or rather which has not. Each has been allusive, but the
opinion of each is clear. Not only is the perplexity removed,
but a capital point is made by reading (with Meineke) co@ds
for cagés: ‘the one has spoken wisely, and the other. .
wisely.” Dionysus hesitates and seems to be thinking over a
word, and then confesses (probably after glancing round the
theatre) that there is nothing to choose. Aristophanes in fact
leaves the matter of Alcibiades to the audience. {The appear-
ance of cadds is not difficult to explain. Some early reader or
copyist would expect a contrast between 6 pév .-. ando 8. .,
but finding none, and missing the point, would ‘emend’ with
capes. |

1437 (1442). éyd pév oiSa «.t.A. In the distribution here
offered of this much confused passage it has been assumed that
eight lines of the first edition of the play were removed in
favour of eight new lines. In some old copy or copies the text
of one edition was accommodated in the margin of the other,
where it could best find room, part being written high on the
page and part lower down. Hence the first five lines of edition
a precede the eight lines of edition b (which are written
correctly together), while the last three lines follow them. We
have, of course, no means of deciding with certainty which of
the two editions was the earlier, but, since the troubles of
Athens must have been rapidly increasing, it is perhaps to be
guessed that the earlier edition would contain the lighter
passage. Lines 1437-1441 were declared spurious by the
ancient critics Aristarchus (200 B.c.) and Apollonius (A.D. 10).

Kal 8€\w: since it is a tragedian speaking more suo it is
unnecessary to suggest Ka0édw.

1438 (=1437) sqq. The apparent fooling of the following
lines is to be explained (1) as burlesquing some of the far-
fetched devices for victory suggested in desperation (cf. Ach.
915), (2) as parody of certain passages of the Palamedes of
Euripides (see 1443=1451). That play is the subject of
burlesque also in Thesm. 770 sqq., where of6 éya kai 5) mépor |
€x Tod Hadkaujdous has a suggestive resemblance to the present
place. Ibid. 847 it is said of Euripides ov« éc0’ drws | ob Tov

256 THE FROGS OF ARISTOPHANES 1438—1446

Tlaraujdnvy wuxpdv dvr’ aicx’verar. In fr. 578. (from the
Palamedes) occur the words rovtias brép wakés. Much of the
humour is necessarily lost in the absence of the jarodied
original. At the same time Aristoph. makes an attack upon
peculiarities of Cleocritus, Cinesias and Cephisophon.

1438 (=1437). el tis wrepdoas k.t.’. A nom. pendens is
anything but rare (cf. Aesch. Hum. 95, 100, 480, Swppl. 455,
Eur. J. 7. 947, Hec. 970, Hom. J7. 5. 135, etc.). An instance
(and there are many) as striking as the present is Eur. fr. 411
mpos dvdp’ elrwv eva, | wUOowrT’ dv dorol mdvres. [Except for so
inany parallels it might be tempting to suggest ev tus wrepdoas
. . | Géptov dpa, ‘were to lift him into the air.’ The form
dpat for dpece is quite admissible in a mock-tragic passage which
includes mAd«a, and the resemblance of dépiov and atpoery, and
of dpar and atpa:, is very close. ]

Krcdxptrov Kiyyoia. Cleocritus (cf. Av. 878 orpovbé, uijrep
KXeoxpirov) was a large and ungainly person with some fancied
resemblance to an ostrich (rhv dy ocrpovdddns schol. l.c.). To
enable such a bird to fly he must be provided with wings in
the shape of Cinesias (see 153 n.), who was very tall and thin.
In the Gerytades of Aristoph. (Ath. 551) the latter is reckoned
among the unsubstantial adomotra. ‘The jest went that he was
obliged to wear a board at his waist to prevent him from
doubling up with his length and slenderness.

1440 (=1439). votv 8 éxyea rlva; ‘But what is the idea (or
purpose) of it?’

1441 (=1440). vavpayotey . . d€(Sas: the jest turns upon
a vulgar application of these terms underlying their literal
meaning.

1443 (=1451). ed y, & Iladdpndes: evidently quoted from
that play ; ‘an excellent device!’ gtoi.s=‘genius.’ [In the
ordinary position of this line it is entirely pointless.] The
inventive genius of Palamedes (of whom Odysseus was jealous,
and whose death he compassed) was proverbial. Cf. Eupol.
(Com. Frag. ii. 547) Tladaundixdr ye rovéedpnua cal copér.

1444 (=1452). Kyndiroddv: ascollaborateur. See 944 n., as
also for his connexion with the vinegar-cruet.

_ [1446 (=1443) sqq. Alternative passage from the other
edition. ]

1446 (=1443). 8rav: i.e. cwrnpia éora, drav . . Cf. 1463.

Ta viv &mora «.t.A., ‘when we regard as trustworthy
that in which we now put no trust, and regard as untrust-

'1448—1460 NOTES 257

worthy that in which we do put trust.’ It is little wonder
that Di. finds this perplexing. dmira commonly means
‘untrustworthy’ or ‘disloyal,’ and ra 8’ dvtra mora, ‘what is
really loyal.’ But Eur. means by the former ‘ what is now
distrusted ’ and by the latter ‘that in which we trust.’ Doubt-
less also the combinations of sound ra viv amortamo® and
ra 8 dvramuctamiotra, if not most carefully pronounced (ef.
304 n.), would lead to a fine ‘derangement of epitaphs.’ The
former might become 7a viv dm’ dic and the latter either
7a 8 bvr’ dmicr’ dmiora or Ta 8 bvTa micTA MioTd. It is most
probable that Aristoph. intends to satirise advice capable of
such indefiniteness. [In point of fact it is only the subsequent
explanation which tells us how to read and interpret the
words. ]

1448 (=1445). apabéorepov, ‘less learnedly.” The Greek
comparative is very often used where we should expect jrrov
with the opposite adjective or adverb (e.g. oxavdrepos éxeivou=
Atrov dek.ds).

1451 (=1448). tows owlctpev dv. The reading of R.
Xpyoralperba owbeinpev dv is due to accidental omission through
the similarity of -cws and ow@-, and an attempt to remedy
the consequent defect of metre. Not only is the sense too
positive, but the form ow@elnuev is un-Attic. (Rutherford,
New Phryn. p. 454 sq.)

1455. xpfirac. . xpyorois: 735 n.
awo0ev ; ‘of course not’ (cf. the scornful rrofos ;).
1457. od Sir’ éxelvyn y : 788, 1144.

1459. 4) pire xAatva «.7.A.: evidently a proverbial expres-
sion. We may perhaps render ‘if neither soft cloak nor rough
cloak agrees with it.” xAaiva and o.cvpa are opposed also in
Vesp. 739, 1132-1138. With the Greeks the terms for body
clothes and bed-clothes are not always distinguished, and each
of these words is applied in both meanings. Thus in Av. 122,
Nub. 10 the cic’pa is a bed-blanket, a sense in which xdatva
is also frequent. We can hardly decide which application is
intended here. Both yAatva and cicv’pa are thick and warm for
winter, the difference being that the yAaiva was commonly
made of wool and might be beautified, while the cic¥pa was a
rug made of skins (sheep or goat) with the hair inwards. Cf.
xAatva iudriov xemepivdv (Hesych.), and 4 oictpa repiBrnua ay
ein €x OupOépas (Poll. 7. 70). By the yAatva Aesch. means the
more refined public men ; the ov.cvpa is the rougher sort.

1460. elrep avadice maw, ‘if you are to get above ground
again ’=elzrep uédNes dvadvcerOa (13 n.).

)

258 THE FROGS OF ARISTOPHANES 1461-1468

1461 sy. kel dpdcaw’ dv: the surface meaning is ‘in the
other world’ (cf. 82). But we may perhaps guess that the
actor makes a sign towards the Pnyx, and signifies that he
prefers to give his political views in what the politicians call
‘another place.’ This would also suit adver in the next line,
since the theatre lay below the level of the place of assembly,
in which the people were said xa0fc@a dvw (Dem. 285). Good
advice may find its way up to that hill. Meanwhile dvinw,
dvamréumw are the regular words for sending up influences by
the nether powers. With pi dSfra supply roiro movjons or

elrrys.

1463 sqq. Thy yfv Stav «.t.A. With drav cf. 1446 (=1448).
The utterance is intentionally rather cryptic. The meaning
commonly found (after the schol.) is that the best policy is to
leave the enemy to invade Attica, and meanwhile to attack his
country with the fleet, making a special point of keeping up
the navy as the true resource (wdépos) of the country, the present
revenue (mdpos in a somewhat different sense) being in reality
dmopia, a cause of helplessness, inasmuch as it simply creates
an idle state-fed class. Pericles (Thuc. 1. 143) had urged jp émi
THY XwWpavy Huav ef two, huets ert Thy éexelvwy mrevodpcOa.
But this is scarcely the attitude of Aristophanes, who belongs
to the party of peace. It is probable that the words rather
mean ‘when we (stop the war and can) treat the enemy’s
country as ours and ours as theirs (i.e. so far.as intercourse and
trade are concerned), and when we. treat our ships as our
resource (i.e. spend our money upon them with a view to re-
cuperation and a stronger future revenue), and regard the
present (way of dealing with the) revenue as (the cause of)
helplessness. ’

To this Di. replies ‘Capital! only the jurymen swallow it
up all by themselves.’ The sense of ara is derived from the
context (=7Ta& xpjuara implied in the médpos): cf. 1025. We
might have expected the fut. xaramlera:, but the sense is ‘ but,
no matter what revenue we have, the jury-courts always get it
for themselves (and will continue to do so).’ Dionysus is
naturally interested in the @ewpixdy, and he hints that there
would be more of this if less were paid to juries. Aristoph.
himself would have been glad of any reduction in the payment
of the assembly or courts, since its existence was all in favour
of the power of the djuos. Of. in general Hg. 1350 ef co dvo
Aeyolrnv prrope, | 6 pev roetcOar vats pwaxpds, 6 5° Erepos ab |
KaTau.cbopopjoa. Told’, 6 Tov pucbdv byw | Tov Tas TpLHpers
mapadpauwv dy wxero.

1468. aipfoowa: «,t.A, The line (which is parenthetic and

1469-1491 NOTES 259

is lingered over in order to prolong the suspense of Euripides)
is tragic i in metre and expression (in the use of Wuxi and of
GéAe.=BovAerar). With Oédrev supply aipetoOae,

1469. ods dpooas. Though Di. came down intending to
fetch Euripides, the statement that he has ‘sworn’ is but
hyperbolic assertion of the eager poet, and meets with a crush-
ing answer from his own Hippolytus. Cf. 101 n.

1472. ® piapotar’ avOpemmev: an abusive combination so
frequent that Eur. uses it in forgetfulness of the divinity of
Dionysus—not that (in Aristophanes’ view) he would care
much for divinity. Cf. Av. 1637 (Herakles to Poseidon) @
daimdve’ avOpwruwv Idcedov.

1475. tl 8 aloxpdv «.t.A. Once more Eur. is hoist with
his own petard. In the Aeolus he has the line ri 8 aicxpédv,
qv un rotor xpwuévas Soxn; It adds to the humour if the
previous line is also an echo of the Aeolus. Plutarch relates
that, when Antisthenes (others say Plato) heard in the theatre
this questionable doctrine that it is ‘only thinking makes it
so,’ he retorted aicxpdv 76 vy’ alcx pdr, Kav doxn Kav wh Sox. In
humorously substituting tots Sewpévors the actor looks for
the émonyacia which will show how the audience takes this
verdict in favour of Aeschylus.

1477. tls ofSev «.7.A.: from the Phrixus. See 1082 n.

1478. rd mvetvy S€ Seurvetv. The jingle and alliteration
‘point the sarcasm. He means that such talk is Nfpos. It
gives no practical satisfaction. ‘You might as well say that
‘breathing ’s breakfast and lying down is eider-down.””’

1479. xwpetre: i.e. you and Aeschylus. Cf. Vesp. 975 16
dvTtBorG oa’, oixripar’ avrév, ® warep, | kal uh SiaPelpyre.

1480. tva Eeviorw. They are to be wished bon voyage
with a ‘send-off’ dinner. But Aristoph. is also alluding to
the banquet to which he assumes that he will be eri as
successful with his play (297 n.).

1481. od yap &xPopar ro Tpaypare, lit. ‘it is a business
(or trouble) I don’t object to’; a colloquial expression corre-
sponding to the English ‘I don’t mind if I do.’ So the schol.
TH éoTiaoae (rather égridigGat).

1482. dvfp: not avjp (Aeschylus), but in general.
1484. modXotow: by many signs and tokens.
1485. Soxyoas, ‘having been considered.’

1491 sq. xapuev, ‘a proper thing.’

260 THE FROGS OF ARISTOPHANES 1491—1504

pi} Bokpare «,7.A. Euripides is regarded as one of the
circle of Socrates and as possessing the same taste for sophis-
tical discussion and scepticism. Aulus Gellius (15. 20) says
of him auditor fuit physicti Anaxagorae et rhetoris Prodici, in
morali autem philosophia Socratis, but the last statement can-
not be true in the sense that he was a ‘pupil’ of Socrates, who
was twelve years his junior. Also Soc. had no ‘pupils,’ but
only fellow-seekers, and of these Eur. was one. For Aristo-
phanes’ conception of Socrates see the Clouds (423 B.c.).

tmapakadhwevov. The Socratic group regularly seated itself
round him. Cf. Plat. Theaet. 169 B od fddiov, & Dwxpares, col
Tapakabnuevov uy Ovddvar Adyov.

1493 sq. adroBaddvra povoiny «.T.r., ‘rejecting cultured
taste and neglecting the most important elements of the tragic
art.’ jovotxy here includes both ‘music’ and ‘literary sadn
ment.’ Aristoph. believes in the rightness of the old education
(cf. 729 n.) and also of the old dramatic art as represented in
the dignified simplicity of Aeschylus.

1496. oepvotow: in the unfavourable sense of ‘ pretentious’ ;
ef. 178.

1497. ckapipynopotor, lit. ‘hen-scratchings.’ Hesych. tells
us that diacxapipijoat is properly used émi dpvéwy ray Trois dvvse
oKadevdvTwY THY vv.

1498. apyov. It would be very awkward to make this
masc. with the subject of moe?cOa. SvarpiByv mocicbar is
not here simply the ordinary resolved form of diarpiBew, since
diarpiBiv contains, besides the notion of wasting time, the
sense of ‘philosophic discourse,’ which does not attach to the
verb.

1500 sqq. The chorus is supposed to have filled in the
interval occupied by the farewell banquet. Presumably Pluto
comes on with Aeschylus, Dionysus and Xanthias, who are to
make the return journey. [Hence it is Xanthias who has
played Euripides.] The anapaestic measure implies a kind of
procession (1525), with which the play ends.

1501. tiv twerépav. Athens is naturally to be considered
the favourite city of the gods (iepwrdrys Hg. 582), including
Pluto. The Athenians dyovow éopras durdaciovs } of Gddox
([Xen.] Rep. Ath. 3. 8). But, as the schol. points out, Attica
is the special country of Kore (= Persephone, wife of Pluto).

1504. Sos routl «.7.A. For the three ways of death see 121
n. They are here indicated by appropriate presents, which
Pluto is sending to certain of Aristophanes’ pet aversions.

1505—1524 NOTES 261

They are nice little gifts which Di. brings home from abroad.
We cannot tell which particular favour Cleophon (678) is to
receive in tovtl, or Archenomus in téSe. In regard to the
second gilt the reading is uncertain. If rovri is right, it would
naturally be the xdéveorv, since it has to be divided. Bergk’s
Tovtovel cures the paroemiac verse (which comes in rather
strangely) and, if we understand rov’s Bpdxous, the presentation
of a number of halters would make an effective little picture on
the stage.

1505. roto. mopiorats : little is known of this board (dpx7%).
It appears to have been a kind of expert committee which
suggested ways and means, probably in times of special
emergency (Dict. Ant. in voc.).

1506. Mippyxe «.t.A.: these are not the ropioral, other-
wise 6p00 would not have been added. Nicomachus is
apparently the subject of Lysias’ Orat. xxx. Myrmex and
Archenomus are unknown.

1511. orifas: as if runaway slaves (dpaméra:), who were
usually so punished (Av. 750 Spamérys éorvypuévos). It is thus
hinted that at least some of them are not genuine citizens ; cf.
678 sqq. n. ;

1513. per “Adeusdvrov «.t.A.: Adeimantus commanded
with Alcibiades against Andros (407 B.c.), was a general
during the present year, and took part in the battle of
Aegospotami, where he in all probability behaved as a traitor.
The proper name of his father was Leucolophides (Xen. Hell.
1. 4. 21). The anapaestic metre would not, it is true, admit
of Aevxododldov, as it will not of Zogoxdéer (1516), but, since
it was not essential to introduce the father’s name, we may
assume that AevKoAddov is a humorous substitution. ‘ Adei-
mantus of the white crest’ is Ad. the general, who makes
a display of his Adgos (cf. 1016, with 925).

1516. DodoxAd?: see 76 n., 1513.

1517. qv dp . . adikwpat, ‘in case I ever come back.’ In
agixvetoOar the sense is often ‘come home’ (cf. dmodsddvat,
amohkauBavev, etc.).

1523. pnd’ dxov, ‘not even by accident’; ef. Aeschin. 2.)
153 d&vOpwrros ‘rovnpds, ds 005 av dkwv adnOes ovdév eizrot.

1524 sq. datvere . . Aapmddas: the mystae have their
torches (313, 340), and are now to form a procession escorting
the departing Aeschylus. To ‘show a light’ is good Greek ;
whence also (omitting the noun) gaivew= ‘give a light’; ef.
Theoe. 2. 11 add, Derdva, patve xandv.

262 THE FROGS OF ARISTOPHANES 1526—1532

1526. toio.y tovtov Tottov: the repeated pronoun is em-
phatie, lit. ‘honour him with the tunes of him (and no one else).’
‘For Aeschylus the tunes of Aeschylus,’ i.e. the old dactylic
measures (1264 sqq., 1285 sqq.), such as the following
hexameters. Even the actual words are probably a close
adaptation of Aeschylean lines, possibly (as the schol. suggests)
from the Glaucus Potnieus. The language is of epic quality
(e.g. mayXY, és dos dpvupéva).

1530. dyaSds érwolas: ie. through the advice of Aeschylus
(1419 sq.). There is a reminiscence of Aesch. Hum. 1013
ein 5 ayabdv | dya0h didvova modlras. There is, indeed, here
a general suggestion of the close of that play, with its
mporoumrot and their torches (ibid. 1006).

1532 sq. apyadéwv . . Evvddov: instead of the pleasant and
profitable Evvoda of peace. dpyadéos is used ‘specially of the
litigious temper’ (Neil on Zq. 978).

Krcopdv 8 paxéoOw «.7.A.: ie. we shall make peace ;
and, if Cleophon (with other opponents) wants to keep on
fighting, let him go and do it in his own country (678 sqq.).
According to Aeschines (2. 80) Cleophon went about after
Arginusae threatening dmoxédpev paxalpa rov tpdxnrov el Tus
elpyyns pv noOncerat.

routTwv: not ‘of these spectators,’ which would rather
require rovrwv! (cf. 954), but ‘of that set,’ ‘those fellows’
contemptuously.

INDICES TO NOTES

IL—GREEK

a- (three privatives) 204

a- (oxymoron) 1334

dye (senses) 159

aryKkddae (kupdrwv) 704

dyptotrovbs 837

aywricua 283

del mws 414

aerds, aierds 929

anddévios (véuos) 683

advpwrov (ardua) 838

aidépa Ards dwudriov 100

Al@yp (as divinity) 892

aiviyudos 70

aipew (= pépe) 518
(‘extol’) 378

airiav éxdeivar 691

alrovevos 699

dxavOav (riv . . &eXe) 658

ak (‘best effort’) 1353

axovev )( kAvew 1172

dxpa ioria 999

dxwy (und? —) 1523

adivdnors, addivdjOpa 903 sqq.

adkvdves 1309

aN’ 7 (ovdév . .) 928
dos (idiom) 1164

adr’ ody . . (ye) 1298
&édws (‘in any case’) 1115
ddoxos 1050

aunxavos (pass.) 1429

aul (‘in honour of’) 215

dudiraros 678

dv (repeated) 581
(iterative) 911
(omitted with opt.) 574
(position) 96
(with rel.) 258

dvaB.olny 177 (crit. note)

dvaryvavar 557

avadépe 1106

avakvrrew 1068

dvaueoTow 1084

avavedgeav 591

avdmavva 113

avacrav 903

avagopov 8

avipa@y yuvarxev 157

aveNiacecO0ar 827

avnuwBoriata 554

avinp monrhs, etc. 1008, 1030

avOocpias 1150

avremippnua 674

avr (wrpérepos —) 76

divov EvNov 736

amavd (with infin.) 369

amepthkdAnTos 839

dmirra (passive) 1446

amd )( bard 762

amd (resources) 121, 1200

| aro- (compounds) 1227
admodeikvupe (éme-) 1249
| ard kddw 121

263

264 THE FROGS OF

AmrodXov 659

amé\\um (*bore to death’) 1245

amrouaTrrecbar 1040

amomplacba. 1227

amdppnta 362

amogoBetv 45

amoomay (intrans.) 962

apéoxew (accus.) 103

"Apns, dpns 1021

dpva wéhava 847

doadapmivios 204

doxwua 364

doretov 5

d&riuuos 692

avAnTpls 513

avrds 154

avrd (vague reference) 1025,
1466

atrd dpav (‘do so’) 584
avToxomos 822

avréy (resumptive) 764
avrés (‘ master’) 23, 520
alr@ (T@) Kodé 226
adatpety 518

adixvetobar 1517
"Adpodirn (‘charm’) 1045

-Ba (kardBa, etc.) 35
Badavets 708

Baddavriorduos 772

Bdpabpov 574

Bapéws (senses of . .) 25 sqq.
Bapos 941

Bacavifew 616

BiBrla- 943, 1114

BAGBos 1151

Brérew (dpiyavov) 608

Bdevos 924

BdpBopos (in Hades) 145

Bov- 924

BovAouat (és TO Badavetov) 1279
Bpexexexé&é 209

Bpvew (gen.) 329

Bwpordxos 358

yap (position) 340

ARISTOPHANES

yaornp (whipped) 663

ve (force of) 3, 964, 1052
(in question) 936
(women’s emphasis) 559

yedav éri rive )( Te 2

yéXovos (accent) 6

yérdwv, yédwra 45

yevvatos (‘prime’) 97, 379

yevvalws 379

yevouar (metaph.) 462

yepupiopuos 375, 416

yAdoou (6uwpoxe) 101

yaa (of poets) 877, 1059

yvamorvtos 877

yovimos (rronrns) 96

ypagpewv 938

yputateros 929

ywviacudos 956

darmovie ( —) 175
ddtos 1022

ddkvew (éauvrdv) 43
detva (6 —) 918

dewa treicouat 253

dewa mroveivy, movetobar 1093
delfe. (impers.) 1261
de&iés, SeEvdrys 71, 1009
54 345

57 (=dén) 265
SnuotlOnkos 1085

Onra (kai —) 52 -

du’ ayopas 320
dtadpacirorirns 1014
dlarra 114

dudwerpos 801

dat piBH 1498

diddoxew (dpaua) 1026
Avds KépivOos 438

Atés duBpos 246
diwBedia 141
doxety (‘ pretend’) 564
dox@ déewv, dyew 1421
dpav ard (‘do so’) 584
divams (‘eloquence’) 879
60’ 6Borw 140

dvoTokety 1423

GREEK

-€a4 -€a 863

édv (‘to see if’) 175, 339, 644

éBovdounv (without dv) 866

éyxadvmrew 911

éyxarakpover 336

ever bau émt Tt 682

ef (=6rc) 1007

-e. -y (2nd pers.) 80 (crit. neter

462 (crit. note)

-eva (trilogies in —) 1124

elececetNiooew 1314

eiév 607

eixy )( padiws 733

eikoaToNbyos 363

eixwv (lifeless) 537
(‘ghost’) 1028
(‘comparison ’) 906

eihw, tAAw 1066

eiut (with particip.) 35 sqq.

eivat (omitted ?) 278

eivexa, 189 (crit. note)

elodyew )( maparyey 959

eigaipew (rpdmegvav) 518

eira (indignantis) 21, 76
(force of) 367
pera TovTo 1026

éx (movnpos Kak trovnpav) 731

‘Exataia 366

éxBddXev (words) 595

exypagerOar 148

éxet (Hades) 82

éxeivos (ovK —) 788

éxxaldexa 551 .

exrnviverbar 578

éxTiOévar aitiav 691

éxTos Tav éNady 995

€xtpotai 113

€hadwy (éxrds —) 995

“EdAds (“EAAnviKy) 1284

éuBarrAev (Kwmats) 208

éuBarjpia 372

éuedXov dpa 268

éEupéreca 896

eutrecwv 945

"Eutrovea 293

evddrer Oar (OUpa) 39

INDEX 265
évexa, eivexa 189 (crit. note)
év0dde (on earth) 82
éviaurés )( éros 348
évddo 196
évoxevasw )( oxevagw 523
€& dpxis madi 591
cEnypounv (kar’ éywy’ . .)
é&w Tov Adyou 1179
éeragpavalvoua 1089
érretvac (attributes) 1045
érn (‘senses’) 358
)( wédn 862
émt (with accus.) 675
(igew él rt) 198, 682
Tovrov )( émi rovrov 1305
Tour’ €pxerat 168
émiBaivew (xopev) 675
émiBarevew 48
émiBpéwerar 680
émdeixvup )( amro- 1249
émidety )( mepideto@ar 1038
émikabjoba 1046
émutde 197
érippnua 674 sqq.
émiTpiBew 1018
émipurrtdes 92
émomrevew 745
émraBdeos 1017
Errapov (rds ovK . .;) 647
"Enr’ éri O7Bas 1021
ervAdia 939 sqq., 942
épayv (on part of women) 1044
épya (in battle) 819
épiBpeuéerns 814
éprovvios 1144
Epis 957
éppey 1192
épxecbar eri TovTo 168
éoBoral 956
és képaxas (position) 607
éore wepi Tivos 1028
éoTparevpévos 1113
Erepar )( dAAae 515
érvos 71
evdarmovoins 1417
evdus (‘for instance’) 743

51

266 THE FROGS OF
ed 010’ dru 601

ed mpaTTwy Tolxos 537
evpnueiv 354

Epedpos 792

€pu 1247

éxew (of tutelary deity) 661
"Exedva 473

Exouar wéoos 467

éxov (€oriv —) 1161

exphv )( xph 568

éxw ws. . (fut.) 1249

exw ppovTifwy 1252

éxwv (prvapeis) . .) 202

cHv (od Shy 7d ¢.) 1082

# (‘ hulloa’) 271
H pny (ye) 104

-y -et (2nd pers.) 30 (crit. note),

462 (crit. note)
Hut 37
Hv, édv (‘to see if’) 339, 644
“Hpakderoéav bias 499
hpws (Lamachus) 1039
-now (loc. dat.) 1212 (crit. note)
-yTo (opt.) 919

Garrov (=Taxéws) 94
bed 382 :
dédw (infin. omitted) 1468
fC €0€X\w 533
Oyrye dddvTa 815
Qacwrns 327
Opiov 134
Oveia 124
OvAdKtov 1202 sqq.
Ovpay (kpove, etc.) 37
Avpoos 1211
Ovpwpds (manners of . .) 38
iaxxaywyds 340
"Taxxetov 316, 324
taxxos, "laxxos 316
-.av (verbs) 494
-las (adj.) 494
lavot 1028

ARISTOPHANES

lduwrys 458, 891

iepevs Acovicov 297, 308
iepds dvOpwros 652

igew éml re 198

0’ Hep Epxer 301
ixeredw (expletive) 745
thAw, ethw 1066
imovioarpddpos 1297
immadexTpuwy 932
tmméas op 654

immc- (compounds) 929, 932
immoBapev 821
immoxpnuvos 929
irmédogos 818

ioat (orrovdal) 685 sqq.
istémovos, iorérovos 1315
ioxvaivw 941

ixOds (of —) 1068

kdOnua (augment) 778
Kabiro (opt. )} 919
Kal? iepow duvivar 102
kat (force of) 166, 935, 1210,
1393.
(omitted) 157, 857, 861
(confused with cara) 1202
kat 64 604, 1018
kal djra (resumptive) 52
kal ujv 106, 285
kal radra 67, 704
kai. . Te 1009
kddaos (in lyre) 229 sq.
(pan- pipe) 230.
kadelv te (‘call for’) 1073
KdAdor’, éraw@ 507
Kad@s (refusal) 507
Kav et . . 585
Kkavwv 799
Kapixa avrAjpara 1302
kara (‘like’) 1202
(confused with xat) 1202
karaBa 35
KaTa “yatar,
note)

yatas 1529 (crit.

| katadwpodoxetc bat 361

karakeNeve 209

GREEK

katacyxeiv (of ships) 1208
KaTepeckTos, kaTepixtds 505
Kkareppuvnuévos 901
KkarépxerOar 1165
KkarecTwuvrApevos 1160
kaTtpruy 566
Kedavogans 1331
kéXevya (Ships) 180
Kevravptxas 38
Kepaperxai wdnyai 1094
KepBépioe 187

kepkls docdds 1316
KepoBarns 230

Kkepddatov phua 854
Kexnvws 990

Kngicopar 944
Kiuwrla v7 713
kAavoeTat (ov . . 5) 1209
kNérrev (without obj.) 611
-KAfjs, -KAéns 76

kAtuaé (torture) 618
krvewv )( axovery 1172
kvedatos 1850
KoOopvos 47

Kkoxkv fev 1880

KoANaBos 507

Kkoupa 726, 890
Koutrogakenoppynuay 839
kovia 710 sq.

Komrew, €xkomrew 573
Képes 115

KépivOos (Ards —) 438
Kpéd 553

Kpew@v (rept rav . .) 191
Kpyrixh povmdia 849
Kpoxwrdév 46

kpoupva (and. immfs) 654
Kpovewv (Ovpav) 37
Kpouvov agrévar 1005
kvavéuBoros 1318

KUBos 1400

kuxnotreppos 710 sqq.
KUKMLos Xopds 366

KUKNos (=7repiBodos) 440
kuv\lwdew, kudwwdeiv 536
kupewy 1291

INDEX 267

ktwy (friend) 472, 1286, 1291
(watchdog) 465

K@ddaprov 1202 sqq.

Kkwdwvifew 79

ee 968

kwkvew péya 34

k@os (dice) 970

Kkwriov 269

Kkwoa mpdowma 830 sqq.

AdOpa, AdOpa 746 (crit. note)

Nakety 97

AauBdvw (‘catch’) 251
(‘buy ’) 1236

Aapmds 129, 131

Aaol 219

Aéyev AvxaByrrovs 1056

Nec Bidgew 13808

Aeukos dvOpwiros 1092

AnOns mediov 186

Ankv@.ov 1202 sqq.

Ajua 463

Anmatiav 494

Anuatias 494

Ajpos €ore mpos .

AiBavwrds 871

AlOos (Avaivov) 194

Aiuvas 217

Nirpov 710 sq.

Néyos (‘ plea’) 832

Aovrrod (Tod), Novo (7d) 586

Adgos 925

Avew (* pay’) 691

AwtroduTns 716

. 809

~ya (e.g. AdAnua) 92 -
pa Tov 1374
Mayvns 965
padnrhs (of poets) 964

| mawwls 985

pakapwv evwxia 85

baKxpa (AwKvev) 34

pada (with repetitions) 369
bGAXOov waddXov 1001
Mappdxvéos 990

Mavis, udvns 965

268 THE FROGS OF

Mavia 1344

papTrvpouatl Te 528

pmédw 665

pecarywyev (and accus.) 798

eOinus (and med.) 830

MeNavoxdpd.os 470

peAavovekveluwv 1336

wérAn )( rn 862, 1248

MeAynrida 991

Medooovouoe 1273

éAXNev (EuedrAov dpa) 268

pev . . kal (2) 404

pév (solitarium) 533, 952, 1028,
1184

(in rovroupevl) 965
peévrou (affirmative) 166
péoos éxouar 467
pérotkos (and patron) 569
uh (with ws and gen. abs.) 128
(=ph ov) 42
(position) 639, 1416
bh adrd 103
povov (frequent omission) 1401
povmdla 849, 1330
ov, gov, etc. (position) 485
ovoetiov 93
fovotky 1493
puKTHpes 893
pbpava 475
puppivwy (in Aades) 156
pwprov 329
pvorhpia (dvos dyer) 159
porns (adj.) 370

vexpot (stupid) 420
vonoa, wonta 673
vouot (of harp) 1282
vouvfecia (poetic) 1009
vous (‘meaning’) 47
Nvonuos 215

mavOtdsrov 582
Eov0ds 9382

Evdov (of office) 717
EvNov dévov 736

ARISTOPHANES

6Borw (Tw dv’ . .) 140 sq.

66e (without art.) 873

0 detva 918

dddvTa Oyryew 815

bfec Tivds 338

d0ev (=a ov) 1040

oldd Tia 836

oid’ dre 601

olxiay oixety 105, 976

oice 481

duvupe Kad?’ iepov 10%

‘Oubyvios Leds 750

‘Onouacriylas Zevs 756

évos dyer wvoTHpia 159

“Ovov méxas 186

d&vs (of light) 1362

da 180

érws (with fut., pure final)

1120

drrws dv 872

dpyta 356

’Opéoreva 1124

6p9o0émreva 1181

6p06s (with inf.) 706

éplyavov Brérewv 603

Opuadds wedhav 914

dpuay (construction) 478

épxnorpls 513

doris )( bs 168, 706
(=6orts dn Hr) 39

doTpaxa 1305

drav (condensed use) 1446, 1463

dre (causal) 1189

bru )( dre 20

5 ru (repeated quest.) 198

dre (redundant) 601

bre (€£eXeyxecOa . .) 741

ov yap adda 58, 192, 498
BH (prvaphoers) 202
Tax’ GAN’ Hon 527

ov évexa (brachyl.) 108 sqq.

ovdé TouTi (deictic) 913

ovdev GA’ 4 227

ovdév €or’ 4 227

ovdev €orat mpayma 1215

ovdev toeiy 662

GREEK

ovdév mpdrrew 1414
obv (force of) 431
(in tmesis) 1047

otvexa 189 (crit. note)

ovpdviov dcov 781

obros (contempt) 9, 17, 707,
724, 1533

otrw (‘just’) 625

dpbarhmay 192

oppts 925

éxety (‘give a lift’) 23

maifew (minstrelsy) 230
mddatcua (metaph.) 689
wad €& apxjs 591
wade (intrans.) 1317
mavooxevTpia 114, 549
mavvuxlvev tii 445
ravr ayabd 302
mapaBarov 180
mapayew )( elodyev 959
mapakekivduvevpéevos 99
IIdpado. 1070
mapacévia 819
TapaTéracpua 938
Tapatpicua 881
tmapacknviov 170
Tmapaxopyynua 170
Taperiypapy 1264
mapidety 815
Tlapvacods 1057
mapotvia 1301
matp@a 1138 sqq.
mave, mavoat 122
méutrew (roumnjv) 1037
métovd Tt 718
mepaive 1170
wept (with gen., acc.) 809
Twos éote 1028
TaV Kpe@v Tpéxew 191
mepidetobat )( émidety 1038
mepldpomos 472
mepiepxerOar (of sound) 154
mepurdduevos 1066
mepitaros 939, 942, 953
mepirem\evKws (metaph.) 535

INDEX 269

mwepiminrew 969

wépuka €o Orbs, €gOADs 1218

anviov 578

méfouat (stock jest) 3

wiOnxos 707

mimrrew (dice) 970

mtd (passive) 1446

Ilirvoxdumrns 966

Il\adavyn 549

IIXararjs 694

mraTeta (xetpes) 1096

whetv (7) oradlw Aadlorepa) 91

wrevpwv 474 (crit. note)

TANYHY Tapa wrAnyHv 643

wrivOous émitiBévat 621

mveiv Odpv 1016

mvevooual, mvevoovmat 1221

Tonoa, vojoar 673

miBev ; 1455

movetv (omitted) 1047
(combined senses) 14
(without obj., uy moons) 16
(and zroety) 13 (crit. note)
(ovdev . .) 662
)( moveto Bar (ded . .) 1098
)( movetoOar (xplow) 779, 785
)( moveto Oar (cmrovdjy) 522
TovTo (id agere) 358

motos ; 529

TOANG Tparrew 228

moddXov (‘ very’) 1046

toAvppodos 448

tmoduTlunros 851

movnpds (‘mean’) 710
(‘wretched ’) 852

mévos (and gods) 401

mopioratl 1506

Tov oxhow ; (and mot) 188

tovs xpdvov 100

Tpayua (ovdev Eorar .
(=causa) 759

») 1215

‘| wpaxrwp (fem.) 1289

mpdgov (as whip) 621
mpecBurepos (figurative) 18
mptvos (burnt) 859
mpoaywybs 1079

270 THE FROGS OF

mpbdorvos 1119
mpos (=mpogért) 611

(‘to’ accompaniment) 1307
mpos dé 697
mpookanretabar 578
mpocopethew 1133
mpoorarns 569
mpooxnua 913
mporepos (‘superior’) 76
mpvTavis 1286
apwy 665
mpara (Td .
mpwtd@ 369
mupyos (uWyrds) 180
Tupyow (pjuwara) 1004
mupplas 730
muppixn 150

.) 421

padiws )( exp 733
phua 97, 821
pyTtwp 367

pdda 448

pugew 683

pvupa 710 sqq.
pummamat 1073

cadmriyyooyxXuTnvdadar 966
capkacmomiTvokdumrat 966
ceuvds 1496

onuetov (ships) 933

o.cvpa 1459

cirnots (év mpuravelw) 764
oxapipnopudos 1497
okevagew, évoxevagery 523
oKevnpopety Te 12

oxdda 1302

oxdpoda 555

copiat 676

gopés (poet) 1154

omelpew Ndyov 1206
omovdny toveiv, movetc Oat 522
oTadlw (AaXlorepa) 91
Xrdpuvios Levs 22

ordo.s weNov 1281

origew 1511
oTwuvrtogv\NeKTaOns 841

ARISTOPHANES

oTrmpvrAwa 92

adxa (warts) 1247
oupBatvew tiv 807
cuptapavety 687
ovmmrukta 799
cvuugopd 699, 1164
ovv Toto Beots 1199
ovvTrvyxavev (omens) 196
codpuyé 230
gvoKkedavyivar 904
oxivdddapmos 819
Lwretpa 379

Taiviovcbar 392
Taddav 559
Tddapos 560
Taprynccia pvpawa 475
Taupopayos 357 !
Tre (position) 1009, 1070
TecOpdova 477
TereoOfvas (accus,) 357
TereTal 368, 1032
tépa (=répara) 1342
Terpadmnxus 1014
TeTpyupevyn 123
TeuTAla NevKd 942
Thuepov (in threats) 577
ri (‘what is meant by ?’) 649
rl yap . . ov (imperf.) 33
Ti. . o8 635
tiva ; (repeated quest.) 120
ris (with superl.) 291

(‘all and sundry ’) 628

(allusive, in threats) 552
rotos 470
rotxos (of ship) 537
TO UN =WoTE L7H) 68
76 Th; 7
TO xpjua Tov . . 1278
Tov wrelw xpdvov 160
Totéérat 608
ropws 1101
Tod Novrod, Td Notrrév 586
TouTi Ti Hv; 39
rovro (matter in hand) 168, 358
rovro yap Ta Kal. . 73

GREEK

Tour’ éxeivo 318, 13842
TovTouuevi 965

Tpayéhagos 937

Tpaynuara 510
Tpecxatdexa 50 (crit. note)
Tpéxew Tov wept. . 191
Tpia (Ta eis Pdvarov) 121, 1504
Tpinpapxetv 1065
TpinpavrAns 209

TuLBwptxyos 1149

Tumrew (absolute) 610
Tupomwnety (accus.) 1369
Tudws 848

-Twp (fem.) 1289

Vdwp 1339

bmdyew (THs 6000) 174
brddew 366

jiro- (compounds) 366
vroypauparevs 1084
UroNvptos 229 sqq.
vrdpxnua 849
vrwpdgios 1314
voTpixls 619

vdlecbat 1220

galve Naumrdda 1524
gappakds 621, 733
papvé 258 (crit. note)
Peppéparra 671

pnt (‘admit’) 1012
iravros (deApis) 1317
pirdtimos 678
pratrd0par 1285
ppdrepas pica 418
pparepes, ppdropes 418
ppevoréxruv 820

gphv (in comedy) 534
pplocew (accus.) 822
pioa ppdrepas 418

INDEX 271
gupav 1363

pos (in Hades) 155

pwrds )( dvdpds 820

xatpe 164

xarives 827

xavddvew 258

xapires 335

xedcdwv (inarticulate) 93

xX dvi0s “Epufjs 1126 sqq.

xtos (dice) 970

xAatva 1459

Xdes 217

XOAH éote 4

xopeia 247, 1303

xopevew (accus.) 356

xopevral (appetite) 377

xopov AauwBavew 94

xopés (meanings of) 675
(k¥KXLos) 366

xp, det (confused) 1008 (crit.

note)

xpnords, xphoda 735

xpovou trovs 100

Xpvoot Beol 483

xuTpigew 1190

Xvrpo. 217

xXwpet 7d kaxdv 1018

Wevddrxrpos 710 sq.
Wiados 567
Wogos (Avpas) 604

® daiudvie 175

dv (with particip.) 721

wor 180

wpatos (lacchus) 394

ws (=dore) 1110
(=6rrws, in éyw ws . .) 1249
(gen. abs., with u7) 128

womep (cases after) 303

Il.—ENGLISH

Accent (yéXovov) 6
Accusative (of respect) 294,
822
(continued and cogn.) 12,
247, 336, 356, 357, 478,
643, 748
(of destination) 1208
(adverbial (with papripomou
etc.)) 528, 703, 833, 896
(with dpécxev) 103
(with iew ért) 198
(with ruporwrety) 1369
(with wecaywyetv) 798
Acheron 137
Actors (pronunciation) 303
Adeimantes 1513
Adjective (as adverb (xvegaios))
1350
(proleptic (d:ddcKev)) 1019,
701

(with wéguxa) 1218
(predicative (with émixaé-
joba)) 1046
Ad sensum construction 587
sq., 698, 710, 918, 1025,
1408 sq., 1466
Adverb of rest (for motion)
188, 199
Aeacus 464
Aegina (as basis) 363
Aeschylus (and actor’s dress)
1061
(and Homer) 1040

272

Aeschylus (dyptorods) 837
(Persae) 1026
(Septem) 1021 .
(tragic diction) 1004
(and Athenians) 807
(shields and helmets) 929,
1018
(Phryges) 928
(Eleusis) 886
(plays reproduced) 868
Aether (as divinity) 892
Agathon 83
Agon (lines introducing) 1004
Alcibiades 1422
Ameipsias 14
Anacoluthon 148
Ananios 661
Anapaests (spondaic) 372
Andromeda 52
Antepirrhema 674
Anthesteria 217
Aorist (tmesis with ov) 1047
(gnomic) 229, 1247
(iterative with dv) 911
Apposition (Barpdxwy kixvwv)
209

Archidemus 417
Arginusae 49, 191
Article (absent) 373, 691
(exclam. infin.) 530
(with ri) 7

(with nom.,=voc.) 40
(force of) 67, 160, 1263

ENGLISH INDEX 273

Article (absent from phrase)
109,198
(absent from local name with
prep.) 129, 320, 764
(absent from name of play)
1026, 1144
(generic with adj.) 796
Athenian names 628
Athens (favoured by gods) 1501
Atimia 692
Attraction (gender of demonst.)
181
(gender of relat.) 774
(of case to relat.) 889
Audience (satirised) 276
(number of) 677

Barathrum 574

Boar (and tusks) 815

Boobies (names of —) 990

Brachylogy 39, 108 sqq., 149,
297, 491, 498, 747, 749,
841, 1279, 1368

Broken syllable (stammer) 83

(shakes) 1314 .

Carian tunes 1302
Centaurs (UBpis) 38
Cephisophon 944
Cerameicus 129, 1094
Cerberii 187
Charon 139
Choes 217
Chorus (cyclic) 366
(clothing) 404
(appetite) 377
(of Frogs) 316
Chutroi 217
Cimolus 7138
Cinesias 150, 366, 1438
Citizenship (widening) 701
Cleigenes 708
Cleisthenes 48
Cleitophon 967
Cleocritus 1438
Cleon 569

Cleophon 674 sqq., 15382
Cock-fighting 861

Coinage 719 sqq.

Comedy (old) 357

Compound names 499

Constructio ad sensum 587 sq.,
698, 710, 913, 1025, 1408
sq., 1466

Contraction (67) 265

Cratinus 357

Cretic monodies 849, 1330

Cycnus 963

Dative (circumstantial) 226
(commodi) 386, 1134, 1229
(of honour) 445, 1818
(émiBarevew til) 48
(locat. for accus. respect.) 355

Death (three ways) 121

Deictic (pronoun) 189, 913

Diagoras 320

Dialectics (travestied) 25-30

Dice (in tragedy) 1400
(metaph.) 970

Diminutives 269
(quantity in) 582

shake (and dramatic poets)

1

(ritual dress) 46
(and theatre) 16
(priest of . . ) 297, 308
(and Nysa) 215
(and Bacchantes) 1211 sqq.
Dog (of house) 465
Door (noise of) 604
(calling at) 37
(kicking at) 39
Doorkeeper 464
Dramas (choice of) 94
(victors in) 297
Drearfis (and purgation) 1339
Dual (fem. partic.) 566

Echidna 473

Education 729

Egyptians (4x0opdpor) 1406
Tr

274 THE FROGS OF

Empusa 293

Epirrhema 674

Erasinides 417, 1196

Euripides (and deities) 889,
892

(answered from himself)
1471, 1475

(phrases ridiculed) 100, 105

(moral teaching) 101

(realism) 959, 1052

(family affairs) 1046

(monotonous style) 1202 sqq.

(lyrics) 1309 sqq.

(his mother) 840

(wrwxotods) 842

(xwAomotds) 842, 846

(his characters) 949, 1043

(his library) 943

(Andromeda) 52

(Melanippe) 1244

Fee (of poet) 367
(of offices) 141
Fish (luxury) 1068
Flute-playing 154
Foreign birth 674 sqq.
Frogs (habits of) 242
(ery of) 209
Future (indic. final with dws)
1120
(indic. and aor. subjunct. in
questions) 310
(‘ Doric’ form) 1221
(=édXevs c. infin.) 13, 1460

Garlic 555

Genitive (double) 1181
(of comparison) 1061
(absol.) 1110
(partitive Yéyev, etc.) 1129
(partitive rod Norod) 586
Sede ppage Tav ddor)

11

(partitive drdyew ris 6000)
174

(with mate) 580

ARISTOPHANES

Genetive (with dfe) 338
Gnomic aorist 229

Gods (dzrovor) 401
Gorgons (of Teithras) 477
Greetings 164

Hades (and initiated) 145, 154
sqq., 450

Hecate 366

Hegelochus 303

Hemlock 123, 125 sq.

Heracles (temple) 38, 129
(appetite) 71, 107

Hermes (and Arcadia) 1266
(Chthonius) 1126 sqq.
(’"Eprodvios) 1144

Hipponax 661

Hyperbolus 570

Iacchus 316
(wpatos) 394
Infinitive (and accus., prayer)
387, 887, 894
(exclam.) 580, 741
(as imperat.) 182, 169
(after 6p6ds) 706
Initiated (in Hades) 145, 154
sqq., 450
Imperfect (conatus) 144, 561,
962

(panoramic) 560
(force of) 9, 33, 36, 39, 48,
806, 866
(idiom of) 182, 568
Inns 549
Innkeepers 549
Iophon 73

Jingles 463

Knights (and onions) 654
Kore (Soteira) 379

Lamachus 1039
Lethe 186
Light (in Hades) 155

ENGLISH INDEX

Limnae 217

Lycabettus 1056

Lycis 14

Lyre (and reeds) 229 sqq.

Lyrics (‘ strings’ of) 914
(of Euripides) 1309 sqq.
(of Aeschylus) 1248 sqq.

Magnetes 965
Malingerers 192
Manes 965
Mania 1344
Marathon (rope-making) 1296
Melanippe 1244
Meletus 1302
Melite 501
Memnon 963
Metics 569
Metre (effect on names) 1573,
1576
Middle (force of) 8, 180, 483,
1038, 1093
Molon 55
Monodies 849
Morsimus 148
Musaeus 1032
Music (Greek) 1248
Myrtle (and Mystae) 329
Mystae 316 sqq.
Mysteries (conduct of) 316
sqq., 354 sqq.
(clothing at) 404
(doctrines) 148 sqq.
(respect for) 327

Nicknames 55
Nominativus
Noun omitte
- 1096
Nysa 215

endens 1438
191, 685, 693,

Oaths 101

Obol (Charon’s) 140
Obols (the two —) 141
Oedipus (name) 1192
Omens (€véd:0r) 196

275

Omission (ud rév) 1374
(of noun) 191, 685, 693,
1096
(of verb) 491, 498, 747, 841,
1047, 1279, 1407, 1462
(of antecedent) 710
(of dv) 574
(of kat) 857, 861
(of elvac) 1019
Optative (after primary tense)

(‘assimilated ’) 97
(tenses in frequentative) 923
(of kdOnuac ete.) 919
(pass. aor. 3rd plur.) 1451
Orestea 1124
Orpheus 1032
Oxymoron 344

Palamedes 1443

Pan (cipryé) 230

Pantacles 1036

Parabasis 674 sqq.

Paralus 1070

Parnassus 1057

Participle (several combined)

392

(pass. perf. with dv) 721
(with efi) 35-37 -

Patronymics (comic) 841

Persae 1026

Phaedra 1043

Philomela 681

Phormisius 965

Phratries 418, 798

Phryges 928 .

Phrynichus (politician) 689
(tragedian) 910, 1299
(comedian) 13

Pityocamptes 966

Plataeans 694

Plural (changed to sing.) 1077
(kwvera) 1050
(verb with voc. sing.) 1479

Poets (as teachers) 1419
(function) 1009

276 THE FROGS OF
Poets (and yv@uat) 877
Police 608
Preposition (repeated after
compound verb) 939, 962,
1018
(understood with first noun)
1403
Present (prophetic) 651
(infin. with doxé) 1421
(force of ) 310, 381, 607, 737
Priest of Dionysus 297, 308
Privatives (in d-) 1334
Procne 681
Prologues 1119 sqq.
Pronunciation (of actors) 303
Puns (sustained) 814-829, 708
sqq-, 861, 875 sqq., 399

sqq.
Pyrrhic dance 150

Relatives with dv (position)
2
Repetition (of words in tragedy)
759, 1353 sqq.
(of interrog. pronoun) 1424,
198

Sacrifice (aywvoérns) 871
(to nether powers) 847
Sails (metaph.) 999
Scene (changed) 271, 460
Schema Chalcidicum 35, 761
Scythians (police) 608
Seven against Thebes 1021
Ships (and piper) 209
Sinis 966
Slaves (torture) 616
(at Arginusae) 191
(names) init.
Sneezing 647

ARISTOPHANES

Soap (Greek) 710 sqq.
Socrates 1491
Songs (of occupations) 1296 sq.
Sophocles (character) 82

(and Iophon) 73
Stammering 83
Stheneboea 1043
Storm-winds (= Giants) B24
Styx 470
Swallow (inarticulate) 93, 681
Synizesis 76, 863
Syzygy (Parabasis) 674

Taenarum 187
Tautology (alleged) 1172, 1185
Terpander 1282, 1299
Thanks (formulae) 507
sabes (number of audience)
677
(seats of priests) 297
(stone in) 194
Theramenes 541, 968 sqq.
Theseus and Hades 142
Thracian swallow 681
Thrice addressing 87, 184, 369,
1175
Tmesis 1047
Torch-race 129, 131
Torture (slaves) 616
Tribrach (6th foot) 1203
Typhos 848

Wrestling (metaph.) 689, 775,
875 sqq.
(skill required) 875, 899
Xenocles 86

Zeus (titles of) 750

ALIFOF

~~, iBRAR
OF THE

{ fy NIVERSITY
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